English illustrator and author
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4 episodes with Aubrey Beardsley
2 episodes with Aubrey Beardsley
2 episodes with Aubrey Beardsley
2 episodes with Aubrey Beardsley
2 episodes with Aubrey Beardsley
Recibimos la visita de la laureada poeta colombiana Piedad Bonnett, que en esta ocasión nos presenta La mujer incierta (Ed. Alfaguara), ensayo en el que reflexiona sobre cómo nos determina el origen, el género, la educación y el momento histórico a partir de sus propias experiencias. Desde su adolescencia en un internado religioso, hasta el cuidado de sus padres, pasando por la enfermedad y el suicidio de su hijo Daniel.Luego, Javier Lostalé nos habla de lo nuevo de Juan Luis Bedins, que además de volcarse en la difusión de la obra de otros en su faceta de gestor cultural, ha sacado tiempo para entregarse a la poesía, como demuestra la publicación de su séptimo poemario, Incierto perfume (Ed. Olé Libros).Además, Ignacio Elguero nos sugiere otros títulos: Aubrey Beardsley. Decadente y maldito (Ed. Fórcola), en el que Luis Antonio de Villena nos ofrece un apasionante retrato del excéntrico artista británico y Mi vida robada (Ed. Alfaguara), la nueva novela de la escritora chilena Carla Guelfenbein.En su sección, Sergio C. Fanjul se pregunta qué es la amistad a propósito de la publicación de varios libros que abordan este tipo de relación: Amiga mía (E. Blackie Books), el debut en la novela de Raquel Congosto, La pasión de los extraños (Ed. Galaxia Gutenberg), un ensayo de la filósofa Marina Garcés y Amistad (Ed. Debate), ensayo escrito a cuatro manos entre el neurocientífico Mariano Sigman y el escritor Jacobo Bergareche, quien nos dedica unas palabras.Terminamos el programa junto a Mariano Peyrou, que hoy pone sobre la mesa Poesía de los siglos XVI y XVII (Ed. Cátedra), volumen bien grueso sobre el Siglo de Oro con una interesantísima introducción del profesor Pedro Ruiz Pérez, quien plantea algunas ideas que también se podrían aplicar al actual panorama poético.Escuchar audio
This is a unique and interesting podcast that is split up into three different parts. The first part is the explanation part with each participant giving a quick rundown of three topics, Art Therapy, Aubrey Beardsley, and the Long Term Outcomes of art therapy. We move on to the main focus of the whole podcast, the second part, which is basically a skit that is very much based off of the case study with it being a conversion between two people, a Counselor, this old geezer, and Gladys, a suffering student, with a surprise third character that is outside of this conversion who is the Narrator. This second part of the podcast uses the explanation of the first part as context for the mentioned skit. Finally, the third part, which has each participant giving a freestyle, straight-from-the-dome, talk that goes in-depth about each character in the skit.
“The Early Work of Aubrey Beardsley" was checked out from the Worcester Public Library in 1973 and was never returned. Over 50 years later, the book finally made its way home. For more, ask Alexa to play WBZ NewsRadio on #iHeartRadio.
In this episode of Cemetery Row, the girls celebrate Leo season by sharing the stories of famous Leos. Sheena covers English illustrator Aubrey Beardsley, and Hannah shares the story of Czech painter, graphic artist and illustrator Alphonse Mucha. Lori inspires us all with the story of athlete and humanitarian Terry Fox.
Crime novelist Cathi Unsworth turned Goth in her teens in rural Norfolk fired by a cocktail of Dennis Wheatley, the Damned on the Peel show and the dark arts of the York Festival “Gothtopia” bill in 1984. She devoted long hours to trying to construct Robert Smith's “tarantula hair” and acquiring black lace garmentry. Something about its music and folklore chimed with a life marooned in the middle of an East Anglian beanfield pondering tales of Shuck, the fabled fire-eyed ghostly hound alleged to roam the neighbourhood at night. We talked to her about her marvellous ‘Season of the Witch: the Book of Goth' for a live podcast recorded at London's 21Soho on 25 September, a very funny and wide-ranging exchange that included … … why Goth is like no other tribe: you never make a full recovery – or ever want to. … the part played in its family tree by Aleister Crowley, Aubrey Beardsley, the Brontes, Joy Division, Magazine, the Cramps, Jim Morrison and Bobby Gentry. … why Leeds became one of Goth's key spiritual centres. … the shocking spectacle of Dave Vanian in full Stygian rig in broad daylight. … “the three Goth Ians” - Astbury, Curtis, McCulloch. … the significance of Cabaret and A Clockwork Orange.... why Goths feel obliged to dress the part. … the romantic allure of Robert Smith against that of Nick Cave. … the curious link between Siouxsie and Margaret Thatcher. … and how Goth keeps finding new recruits. Order ‘Season of the Witch: the Book of Goth' here …https://www.amazon.co.uk/Season-Witch-Book-Cathi-Unsworth/dp/1788706242Tickets for Word In Your Ear live at 21 Soho on October 30th here: https://www.tickettext.co.uk/ysY3FvyFaeSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Crime novelist Cathi Unsworth turned Goth in her teens in rural Norfolk fired by a cocktail of Dennis Wheatley, the Damned on the Peel show and the dark arts of the York Festival “Gothtopia” bill in 1984. She devoted long hours to trying to construct Robert Smith's “tarantula hair” and acquiring black lace garmentry. Something about its music and folklore chimed with a life marooned in the middle of an East Anglian beanfield pondering tales of Shuck, the fabled fire-eyed ghostly hound alleged to roam the neighbourhood at night. We talked to her about her marvellous ‘Season of the Witch: the Book of Goth' for a live podcast recorded at London's 21Soho on 25 September, a very funny and wide-ranging exchange that included … … why Goth is like no other tribe: you never make a full recovery – or ever want to. … the part played in its family tree by Aleister Crowley, Aubrey Beardsley, the Brontes, Joy Division, Magazine, the Cramps, Jim Morrison and Bobby Gentry. … why Leeds became one of Goth's key spiritual centres. … the shocking spectacle of Dave Vanian in full Stygian rig in broad daylight. … “the three Goth Ians” - Astbury, Curtis, McCulloch. … the significance of Cabaret and A Clockwork Orange.... why Goths feel obliged to dress the part. … the romantic allure of Robert Smith against that of Nick Cave. … the curious link between Siouxsie and Margaret Thatcher. … and how Goth keeps finding new recruits. Order ‘Season of the Witch: the Book of Goth' here …https://www.amazon.co.uk/Season-Witch-Book-Cathi-Unsworth/dp/1788706242Tickets for Word In Your Ear live at 21 Soho on October 30th here: https://www.tickettext.co.uk/ysY3FvyFaeSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Crime novelist Cathi Unsworth turned Goth in her teens in rural Norfolk fired by a cocktail of Dennis Wheatley, the Damned on the Peel show and the dark arts of the York Festival “Gothtopia” bill in 1984. She devoted long hours to trying to construct Robert Smith's “tarantula hair” and acquiring black lace garmentry. Something about its music and folklore chimed with a life marooned in the middle of an East Anglian beanfield pondering tales of Shuck, the fabled fire-eyed ghostly hound alleged to roam the neighbourhood at night. We talked to her about her marvellous ‘Season of the Witch: the Book of Goth' for a live podcast recorded at London's 21Soho on 25 September, a very funny and wide-ranging exchange that included … … why Goth is like no other tribe: you never make a full recovery – or ever want to. … the part played in its family tree by Aleister Crowley, Aubrey Beardsley, the Brontes, Joy Division, Magazine, the Cramps, Jim Morrison and Bobby Gentry. … why Leeds became one of Goth's key spiritual centres. … the shocking spectacle of Dave Vanian in full Stygian rig in broad daylight. … “the three Goth Ians” - Astbury, Curtis, McCulloch. … the significance of Cabaret and A Clockwork Orange.... why Goths feel obliged to dress the part. … the romantic allure of Robert Smith against that of Nick Cave. … the curious link between Siouxsie and Margaret Thatcher. … and how Goth keeps finding new recruits. Order ‘Season of the Witch: the Book of Goth' here …https://www.amazon.co.uk/Season-Witch-Book-Cathi-Unsworth/dp/1788706242Tickets for Word In Your Ear live at 21 Soho on October 30th here: https://www.tickettext.co.uk/ysY3FvyFaeSubscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Emma and Christy use Eugène Grasset's lithograph Morphinomaniac (1897) as a starting point to talk about artistic depictions of morphine and historical opioid addiction, as well as decadence and degeneration in fin-de-siècle Parisian society. In this episode, we cover vampires, hypodermic syringes, Orientalism and Japonisme, 'dangerous' women, masturbation, pleasure, and sex work, true crime waxworks, and gendered consumption — of women, goods, and drugs. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. MEDIA DISCUSSED Eugène Grasset, Morphinomaniac (1897) Photographs of a ‘hysterical' woman yawning at the Salpetrière from Nouvelle Iconographie de la Salpêtrière (c. 1888-1918) Eugène Grasset, Inquiétude (1897) Aubrey Beardsley, cover illustrations for The Yellow Book, An Illustrated Quarterly (1894) Henri de Toulouse-Lautrec, Divan Japonais poster (1892-93) Bernini, detail from Rape of Proserpina (1621-22) Edvard Munch, Vampire II (Vampyr II) (1895) Walter Sickert, Reclining Nude (Le lit de cuivre) (c. 1906) Examples of Parisian wax work: Death of Marat at the Musée Grévin (photograph taken 1959) Albert Joseph Pénot, La Femme Chauve-Souris ('The Bat-Woman') (c. 1890) Luis Ricardo Falero, Vision of Faust (1878) Eugène Grasset, Vitrioleuse (The Acid Thrower) (1894) Katsushika Hokusai, The Waterfall Where Yoshitsune Washed His Horse at Yoshino in Yamato Province(c. 1832) Jules Cheret, Vin Mariani (c. 1896-1900) Jean Bernard Restout, Morpheus (Sleep) (c. 1771) Pablo Picasso, Waiting (Margot) (1901) Pablo Picasso, Morphinomanes (1900) Paul-Albert Besnard, Morphine Addicts (Morphinomanes) (1887) CREDITS This season of ‘Drawing Blood' was funded in part by the Association for Art History. Follow our Twitter @drawingblood_ ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song - Kim Petras text us back!!
TESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=4054OSCAR WILDE DIVENNE CATTOLICO E SI PENTI' PER LA SUA PERVERSIONE OMOSESSUALE«Il cattolicesimo è la religione in cui muoio», così disse il celebre poeta e drammaturgo Oscar Wilde poco prima di morire a Parigi, il 30 novembre 1900. Lo scrittore e saggista esperto del mondo britannico Paolo Gulisano si è concentrato anche sulla conversione di Wilde nel suo libro "Ritratto di Oscar Wilde" (Ancora 2009) in cui ha definito «un mistero non ancora pienamente svelato» la sua complessa personalità, arrivando a descrivere il profondo e autentico sentimento religioso del celebre poeta.Il cammino esistenziale di Oscar Wilde è stato un lungo e difficile itinerario verso il cattolicesimo, una conversione - ha spiegato Gulisano - «di cui nessuno parla, e che fu una scelta meditata a lungo, e a lungo rimandata, anche se - con uno dei paradossi che tanto amava - , Wilde affermò un giorno a chi gli chiedeva se non si stesse avvicinando troppo pericolosamente alla Chiesa Cattolica: "Io non sono un cattolico. Io sono semplicemente un acceso papista". Dietro la battuta c'è la complessità della vita che può essere vista come una lunga e difficile marcia di avvicinamento al Mistero, a Dio». Molte le persone che sono entrate in rapporto con lui e si sono convertite, come Robbie Ross, Aubrey Beardsley, e - ha continuato lo scrittore - «addirittura quel John Gray che gli ispirò la figura di Dorian Gray che diventato cattolico entrò anche in Seminario a Roma e divenne un apprezzatissimo sacerdote in Scozia. Infine, anche il figlio minore di Wilde divenne cattolico». Wilde soleva ripetere: «Il cattolicesimo è la sola religione in cui valga la pena di morire» (R. Ellmann, "Oscar Wilde", Rizzoli, Milano 1991, pag. 669).Wilde è oggi celebrato sopratutto come "icona gay", ma Gulisano ha spiegato che «non può essere definito tout court "gay": aveva amato profondamente sua moglie, dalla quale aveva avuto due figli che aveva sempre amato teneramente e ai quali, da bambini, aveva dedicato alcune tra le più belle fiabe mai scritte, quali "Il Gigante egoista" o "Il Principe Felice". Il processo fu un guaio in cui finì per aver querelato per diffamazione il Marchese di Queensberry, padre del suo amico Bosie, che lo aveva accusato di "atteggiarsi a sodomita". Al processo Wilde si trovò di fronte l'avvocato Carson, che odiava irlandesi e cattolici, e la sua condanna non fu soltanto il risultato dell'omofobia vittoriana». Tuttavia ebbe contemporaneamente diverse relazioni omosessuali, ma verso l'epilogo della sua vita si pentì del suo comportamento. Già nel celebre "De profundis", una lunga lettera all'ex amante Alfred Douglas, scrisse: «Solo nel fango ci incontravamo», gli rinfacciò, e in una confessione autocritica: «ma soprattutto mi rimprovero per la completa depravazione etica a cui ti permisi di trascinarmi» (Ediz. Mondadori, 1988, pag. 17). Tre settimane prima di morire, dichiarò ad un corrispondente del «Daily Chronicle»: «Buona parte della mia perversione morale è dovuta al fatto che mio padre non mi permise di diventare cattolico. L'aspetto artistico della Chiesa e la fragranza dei suoi insegnamenti mi avrebbero guarito dalle mie degenerazioni. Ho intenzione di esservi accolto al più presto» (R. Ellmann, "Oscar Wilde", Rizzoli, Milano 1991, pag. 669).Mentre si trovava in punto di morte, il suo amico Robert Ross condusse presso di lui il reverendo cattolico irlandese Cuthbert Dunne. Wilde rispose con un cenno di volerlo vicino a sé (era impossibilitato a parlare), il sacerdote gli domandò se desiderava convertirsi, e Wilde sollevò la mano. Quindi padre Dunne gli somministrò il battesimo condizionale, lo assolse dai suoi peccati e gli diede l'estrema unzione (R. Ellmann, "Oscar Wilde", Rizzoli, Milano 1991, pag. 670).Nota di BastaBugie: come approfondimento trovate qui sotto due articoli. Il primo è un estratto ricavato dal sito Rai Vaticano. Il secondo, dal titolo "Oscar Wilde, l'inquieto che implorava la pietà di Gesù" è di Francesco Agnoli ed è stato pubblicato su La nuova Bussola Quotidiana. Lo pubblichiamo integralmente.OSCAR WILDE BANDIERA GAY? NON PROPRIO...Recentemente, in un talk show radiofonico, un esponente del movimento gay italiano intervistato sulla storia del movimento omosessuale, citava, tra i tanti personaggi del mondo della cultura, dell'arte e della scienza che hanno avuto chiare tendenze omosessuali anche - e con ragione - Oscar Wilde.Di lui, oltre alle doti di scrittore, saggista e commediografo, il nostro intervistato apprezzava soprattutto il coraggio di non aver nascosto la sua "diversità", specialmente nell'Inghilterra del XIX secolo intrisa di perbenismo vittoriano, nonché la sua intelligenza ed il suo sarcasmo tipici - sottolineava - proprio del mondo omosessuale. Insomma - concludeva - una vera bandiera gay contro i troppi bigottismi, specialmente religiosi, di cui propriola Chiesa cattolica è ancora oggi il maggior fautore.Peccato che questa prolusione dimenticasse un piccolo particolare: la "bandiera" dell'orgoglio gay ebbe non solo un pentimento totale riguardo la propria vita, ma concluse i suoi giorni con la conversione alla tanto "vituperata" fede cattolica, tanto da esalare l'ultimo respiro avendo tra le mani un rosario. [...]Poche settimane prima di morire, intervistato da un giornalista del Daily Chronicle, dichiarava tra l'altro: "Buona parte della mia perversione morale è dovuta al fatto che mio padre non mi permise di diventare cattolico. L'aspetto artistico della Chiesa e la fragranza dei suoi insegnamenti mi avrebbero guarito dalle mie degenerazioni". Concludeva quindi in maniera risoluta: "Ho intenzione di esservi accolto al più presto". (Ediz. Rizzoli, 1991).In un celebre aforisma dichiarava tra l'ironico e il feroce che: "La Chiesa cattolica è per i santi ed i peccatori; per le persone rispettabili va benissimo quella anglicana". Riguardo il peccato e il peccatore, merita di riportare quanto scrive, sempre nel "De Profundis": "Il Credo di Cristo non ammette dubbi e che sia il vero Credo io non ho dubbi. Naturalmente il peccatore deve pentirsi. Ma perché? Semplicemente perché altrimenti sarebbe incapace di capire quanto ha fatto. Il momento della contrizione è il momento dell'iniziazione. Di più: è lo strumento con cui muta il proprio passato". […]Forse, prima di definire Oscar Wilde "bandiera" dell'orgoglio gay, bisognerebbe rivedere con onestà intellettuale anche il significato della conversione proprio a quella religione, la cattolica, definita dagli ambienti gay - e non solo - la più oscurantista e retrograda. Alla luce della vita di Oscar Wilde, ci permettiamo di dire che non è così.Fonte: sito Rai Vaticano, 15/12/2011OSCAR WILDE, L'INQUIETO CHE IMPLORAVA LA PIETÀ DI GESÙIl 30 novembre 1900, a Parigi, moriva Oscar Wilde, l'autore de Il ritratto di Dorian Gray. La sua figura è spesso strumentalizzata e incompresa, nella sua profondità e nel suo dramma. Per questo può essere utile ricordare almeno alcune cose. Oscar Wilde nasce a Dublino il 16 ottobre 1854. Come racconta il biografo Francesco Mei, suo padre, sir William, è un medico affermatissimo, che «cambia più spesso le amanti che non le camicie» (Francesco Mei, Oscar Wilde, Rcs, Milano, 2001). Sua madre, Jane, è «portata a trascurare l'andamento della casa, compresa l'educazione morale dei figli».William e Jane sono una coppia "aperta", con tutte le caratteristiche del caso. Quando Oscar nasce, la madre, «che aspettava ardentemente una bambina», resta delusa. Proietta sul figlio, maschio, i suoi desideri: il piccolo Oscar viene vestito da bambina, «agghindato con trine e pizzi» e patisce tanto le imposizioni della madre, quanto l'assenza del padre. Vari biografi mettono in luce come Wilde abbia interiorizzato una figura negativa di padre, e questo gli abbia impedito di sviluppare appieno la sua virilità e il suo senso di paternità: cercherà sempre, in altre figure maschili, il padre che non ha avuto, e sarà, con la moglie e con i figli, il marito infedele e il padre assente che non aveva apprezzato in suo padre.Presto Wilde si distacca dalla famiglia, andando a studiare in collegio, prima al Trinity College di Dublino, poi ad Oxford. Rimanendo per certi aspetti «un eterno fanciullo», incapace di «maturare, almeno sul piano affettivo». Suo padre non è per lui oggetto di ammirazione, anzi Oscar non approva «lo sfrenato libertinaggio del genitore. E non è escluso che proprio per reazione agli eccessi paterni, egli abbia concepito sin dall'adolescenza una sorta di riluttanza a stabilire rapporti impegnativi con le donne». Si sposerà, amerà sua moglie, ma, un po' come il padre, senza mai riuscire a farlo veramente, alternando i rimorsi e il desiderio di tornare da lei, all'insicurezza e alla mutevolezza, ai rapporti fuggevoli e molteplici con donne, uomini e ragazzini.
Growing up in remote rural Norfolk, crime writer Cathi Unsworth had a Goth conversion, a condition from which, she happily admits, you never fully recover. And never want to. She discovered Dennis Wheatley's ‘To The Devil A Daughter', heard Siouxsie & the Banshees on the Peel Show and saw a picture of Robert Smith in a magazine which she stuck by her bedroom mirror to help her construct his spectacular dishevelment. She's just published ‘Season Of The Witch: the Book of Goth', a highly entertaining account of the dark side of rock starting out with the Brontes, Edgar Allan Poe and Aubrey Beardsley and heading, via Jim Morrison, Jacques Brel and Nico, to Joy Division, the Cure and the Sisters of Mercy. This is a very funny and self-mocking pod in which you'll find the following … … why Yorkshire is “Goth's Own Country”. … the secret ingredient in Mac McCulloch's vertical hair. … Nick Cave - “the Dark Lord of Goth Music” (©️ the Daily Mail) – at the Coronation. … Lee Hazlewood's advice to Nancy Sinatra when recording Goth staple These Boots Are Made For Walking. … “changing into fishnet tights in the bogs at school”, rival pop gangs, mooching about in graveyards and a mate “who used to sit up trees reading Dennis Wheatley and summoning Satan”. .. the joy of crimpers and backcombing. … “spreading the virus” at the Batcave. … the inventor of the term Goth and the key Gothmothers and Gothfathers. … local folklore about hellhounds in Norfolk. … her first gig, the York Rock Festival in 1984 featuring the Bunnymen, Sisters of Mercy, Spear of Destiny and the Redskins: “Gothtopia”! … “Beer Girls and Beer Boys” and why it was best to avoid them. … dark Satanic mills. … and the greatest Goth record ever made. Order ‘Season of the Witch: the Book of Goth' here …https://www.amazon.co.uk/Season-Witch-Book-Cathi-Unsworth/dp/1788706242Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Growing up in remote rural Norfolk, crime writer Cathi Unsworth had a Goth conversion, a condition from which, she happily admits, you never fully recover. And never want to. She discovered Dennis Wheatley's ‘To The Devil A Daughter', heard Siouxsie & the Banshees on the Peel Show and saw a picture of Robert Smith in a magazine which she stuck by her bedroom mirror to help her construct his spectacular dishevelment. She's just published ‘Season Of The Witch: the Book of Goth', a highly entertaining account of the dark side of rock starting out with the Brontes, Edgar Allan Poe and Aubrey Beardsley and heading, via Jim Morrison, Jacques Brel and Nico, to Joy Division, the Cure and the Sisters of Mercy. This is a very funny and self-mocking pod in which you'll find the following … … why Yorkshire is “Goth's Own Country”. … the secret ingredient in Mac McCulloch's vertical hair. … Nick Cave - “the Dark Lord of Goth Music” (©️ the Daily Mail) – at the Coronation. … Lee Hazlewood's advice to Nancy Sinatra when recording Goth staple These Boots Are Made For Walking. … “changing into fishnet tights in the bogs at school”, rival pop gangs, mooching about in graveyards and a mate “who used to sit up trees reading Dennis Wheatley and summoning Satan”. .. the joy of crimpers and backcombing. … “spreading the virus” at the Batcave. … the inventor of the term Goth and the key Gothmothers and Gothfathers. … local folklore about hellhounds in Norfolk. … her first gig, the York Rock Festival in 1984 featuring the Bunnymen, Sisters of Mercy, Spear of Destiny and the Redskins: “Gothtopia”! … “Beer Girls and Beer Boys” and why it was best to avoid them. … dark Satanic mills. … and the greatest Goth record ever made. Order ‘Season of the Witch: the Book of Goth' here …https://www.amazon.co.uk/Season-Witch-Book-Cathi-Unsworth/dp/1788706242Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Growing up in remote rural Norfolk, crime writer Cathi Unsworth had a Goth conversion, a condition from which, she happily admits, you never fully recover. And never want to. She discovered Dennis Wheatley's ‘To The Devil A Daughter', heard Siouxsie & the Banshees on the Peel Show and saw a picture of Robert Smith in a magazine which she stuck by her bedroom mirror to help her construct his spectacular dishevelment. She's just published ‘Season Of The Witch: the Book of Goth', a highly entertaining account of the dark side of rock starting out with the Brontes, Edgar Allan Poe and Aubrey Beardsley and heading, via Jim Morrison, Jacques Brel and Nico, to Joy Division, the Cure and the Sisters of Mercy. This is a very funny and self-mocking pod in which you'll find the following … … why Yorkshire is “Goth's Own Country”. … the secret ingredient in Mac McCulloch's vertical hair. … Nick Cave - “the Dark Lord of Goth Music” (©️ the Daily Mail) – at the Coronation. … Lee Hazlewood's advice to Nancy Sinatra when recording Goth staple These Boots Are Made For Walking. … “changing into fishnet tights in the bogs at school”, rival pop gangs, mooching about in graveyards and a mate “who used to sit up trees reading Dennis Wheatley and summoning Satan”. .. the joy of crimpers and backcombing. … “spreading the virus” at the Batcave. … the inventor of the term Goth and the key Gothmothers and Gothfathers. … local folklore about hellhounds in Norfolk. … her first gig, the York Rock Festival in 1984 featuring the Bunnymen, Sisters of Mercy, Spear of Destiny and the Redskins: “Gothtopia”! … “Beer Girls and Beer Boys” and why it was best to avoid them. … dark Satanic mills. … and the greatest Goth record ever made. Order ‘Season of the Witch: the Book of Goth' here …https://www.amazon.co.uk/Season-Witch-Book-Cathi-Unsworth/dp/1788706242Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Episode: 2809 Laurence Housman designs an edition of Christina Rossetti's poem Goblin Market. Today, Goblins, sisterly love, and a masterpiece of book design.
A Persian epic depicted in The Yellow Book which Aubrey Beardsley was art editor for, Iranian figures on the French operatic stage and Rudyard Kipling's links with decadent ideas: Shahidha Bari is joined by Dr Julia Hartley, Dr Alexander Bubb and Professor Jennifer Yee to discuss new research into late nineteenth century art, literature and opera and what we mean by decadence. Was it really a-political and focused on surface and ornament? And how far are ideas about art for art's sake and sex for sex's sake linked? Producer: Robyn Read Dr Alexander Bubb teaches at the University of Roehampton, London and is the author of Flights of Translation: Popular Circulation and Reception of Asian Literature in the Victorian World. Professor Jennifer Yee teaches Modern Languages at the University of Oxford and has edited a book French Decadence in a Global Context. Julia Hartley is a BBC/AHRC New Generation Thinker who teaches at Glasgow University. Later this year she will be publishing Iran and French Orientalism: Persia in the Literary Culture of Nineteenth-Century France You might be interested in a Radio 3 Sunday Feature asking Should Feminists Read Baudelaire ? And the Free Thinking programme website has a collection of discussions exploring Prose, Poetry and Drama
Episode 160 of A History of Rock Music in Five Hundred Songs looks at “Flowers in the Rain" by the Move, their transition into ELO, and the career of Roy Wood. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "The Chipmunk Song" by Canned Heat. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Note I say "And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record." -- I should point out that after Martin's theme fades, Blackburn talks over a brief snatch of a piece by Johnny Dankworth. Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one . I had problems uploading part two, but will attempt to get that up shortly. There are not many books about Roy Wood, and I referred to both of the two that seem to exist -- this biography by John van der Kiste, and this album guide by James R Turner. I also referred to this biography of Jeff Lynne by van der Kiste, The Electric Light Orchestra Story by Bev Bevan, and Mr Big by Don Arden with Mick Wall. Most of the more comprehensive compilations of the Move's material are out of print, but this single-CD-plus-DVD anthology is the best compilation that's in print. This is the one collection of Wood's solo and Wizzard hits that seems currently in print, and for those who want to investigate further, this cheap box set has the last Move album, the first ELO album, the first Wizzard album, Wood's solo Boulders, and a later Wood solo album, for the price of a single CD. Transcript Before I start, a brief note. This episode deals with organised crime, and so contains some mild descriptions of violence, and also has some mention of mental illness and drug use, though not much of any of those things. And it's probably also important to warn people that towards the end there's some Christmas music, including excerpts of a song that is inescapable at this time of year in the UK, so those who work in retail environments and the like may want to listen to this later, at a point when they're not totally sick of hearing Christmas records. Most of the time, the identity of the party in government doesn't make that much of a difference to people's everyday lives. At least in Britain, there tends to be a consensus ideology within the limits of which governments of both main parties tend to work. They will make a difference at the margins, and be more or less competent, and more or less conservative or left-wing, more or less liberal or authoritarian, but life will, broadly speaking, continue along much as before for most people. Some will be a little better or worse off, but in general steering the ship of state is a matter of a lot of tiny incremental changes, not of sudden u-turns. But there have been a handful of governments that have made big, noticeable, changes to the structure of society, reforms that for better or worse affect the lives of every person in the country. Since the end of the Second World War there have been two UK governments that made economic changes of this nature. The Labour government under Clement Atlee which came into power in 1945, and which dramatically expanded the welfare state, introduced the National Health Service, and nationalised huge swathes of major industries, created the post-war social democratic consensus which would be kept to with only minor changes by successive governments of both major parties for decades. The next government to make changes to the economy of such a radical nature was the Conservative government which came to power under Margaret Thatcher in 1979, which started the process of unravelling that social democratic consensus and replacing it with a far more hypercapitalist economic paradigm, which would last for the next several decades. It's entirely possible that the current Conservative government, in leaving the EU, has made a similarly huge change, but we won't know that until we have enough distance from the event to know what long-term changes it's caused. Those are economic changes. Arguably at least as impactful was the Labour government led by Harold Wilson that came to power in 1964, which did not do much to alter the economic consensus, but revolutionised the social order at least as much. Largely because of the influence of Roy Jenkins, the Home Secretary for much of that time, between 1964 and the end of the sixties, Britain abolished the death penalty for murder, decriminalised some sex acts between men in private, abolished corporal punishment in prisons, legalised abortion in certain circumstances, and got rid of censorship in the theatre. They also vastly increased spending on education, and made many other changes. By the end of their term, Britain had gone from being a country with laws reflecting a largely conservative, authoritarian, worldview to one whose laws were some of the most liberal in Europe, and society had started changing to match. There were exceptions, though, and that government did make some changes that were illiberal. They brought in increased restrictions on immigration, starting a worrying trend that continues to this day of governments getting ever crueler to immigrants, and they added LSD to the list of illegal drugs. And they brought in the Marine Broadcasting Offences Act, banning the pirate stations. We've mentioned pirate radio stations very briefly, but never properly explained them. In Britain, at this point, there was a legal monopoly on broadcasting. Only the BBC could run a radio station in the UK, and thanks to agreements with the Musicians' Union, the BBC could only play a very small amount of recorded music, with everything else having to be live performances or spoken word. And because it had a legal obligation to provide something for everyone, that meant the tiny amount of recorded music that was played on the radio had to cover all genres, meaning that even while Britain was going through the most important changes in its musical history, pop records were limited to an hour or two a week on British radio. Obviously, that wasn't going to last while there was money to be made, and the record companies in particular wanted to have somewhere to showcase their latest releases. At the start of the sixties, Radio Luxembourg had become popular, broadcasting from continental Europe but largely playing shows that had been pre-recorded in London. But of course, that was far enough away that it made listening to the transmissions difficult. But a solution presented itself: [Excerpt: The Fortunes, "Caroline"] Radio Caroline still continues to this day, largely as an Internet-based radio station, but in the mid-sixties it was something rather different. It was one of a handful of radio stations -- the pirate stations -- that broadcast from ships in international waters. The ships would stay three miles off the coast of Britain, close enough for their broadcasts to be clearly heard in much of the country, but outside Britain's territorial waters. They soon became hugely popular, with Radio Caroline and Radio London the two most popular, and introduced DJs like Tony Blackburn, Dave Lee Travis, Kenny Everett, and John Peel to the airwaves of Britain. The stations ran on bribery and advertising, and if you wanted a record to get into the charts one of the things you had to do was bribe one of the big pirate stations to playlist it, and with this corruption came violence, which came to a head when as we heard in the episode on “Here Comes the Night”, in 1966 Major Oliver Smedley, a failed right-wing politician and one of the directors of Radio Caroline, got a gang of people to board an abandoned sea fort from which a rival station was broadcasting and retrieve some equipment he claimed belonged to him. The next day, Reginald Calvert, the owner of the rival station, went to Smedley's home to confront him, and Smedley shot him dead, claiming self-defence. The jury in Smedley's subsequent trial took only a minute to find him not guilty and award him two hundred and fifty guineas to cover his costs. This was the last straw for the government, which was already concerned that the pirates' transmitters were interfering with emergency services transmissions, and that proper royalties weren't being paid for the music broadcast (though since much of the music was only on there because of payola, this seems a little bit of a moot point). They introduced legislation which banned anyone in the UK from supplying the pirate ships with records or other supplies, or advertising on the stations. They couldn't do anything about the ships themselves, because they were outside British jurisdiction, but they could make sure that nobody could associate with them while remaining in the UK. The BBC was to regain its monopoly (though in later years some commercial radio stations were allowed to operate). But as well as the stick, they needed the carrot. The pirate stations *had* been filling a real need, and the biggest of them were getting millions of listeners every day. So the arrangements with the Musicians' Union and the record labels were changed, and certain BBC stations were now allowed to play a lot more recorded music per day. I haven't been able to find accurate figures anywhere -- a lot of these things were confidential agreements -- but it seems to have been that the so-called "needle time" rules were substantially relaxed, allowing the BBC to separate what had previously been the Light Programme -- a single radio station that played all kinds of popular music, much of it live performances -- into two radio stations that were each allowed to play as much as twelve hours of recorded music per day, which along with live performances and between-track commentary from DJs was enough to allow a full broadcast schedule. One of these stations, Radio 2, was aimed at older listeners, and to start with mostly had programmes of what we would now refer to as Muzak, mixed in with the pop music of an older generation -- crooners and performers like Englebert Humperdinck. But another, Radio 1, was aimed at a younger audience and explicitly modelled on the pirate stations, and featured many of the DJs who had made their names on those stations. And on its first broadcast, as George Martin's theme tune for the new station faded, Tony Blackburn reached for a record. At different times Blackburn has said either that he was just desperately reaching for whatever record came to hand or that he made a deliberate choice because the record he chose had such a striking opening that it would be the perfect way to start a new station: [Excerpt: Tony Blackburn first radio show into "Flowers in the Rain" by the Move] You may remember me talking in the episode on "Here Comes the Night" about how in 1964 Dick Rowe of Decca, the manager Larry Page, and the publicist and co-owner of Radio Caroline Phil Solomon were all trying to promote something called Brumbeat as the answer to Merseybeat – Brummies, for those who don't know, are people from Birmingham. Brumbeat never took off the way Merseybeat did, but several bands did get a chance to make records, among them Gerry Levene and the Avengers: [Excerpt: Gerry Levene and the Avengers, "Dr. Feelgood"] That was the only single the Avengers made, and the B-side wasn't even them playing, but a bunch of session musicians under the direction of Bert Berns, and the group split up soon afterwards, but several of the members would go on to have rather important careers. According to some sources, one of their early drummers was John Bohnam, who you can be pretty sure will be turning up later in the story, while the drummer on that track was Graeme Edge, who would later go on to co-found the Moody Blues. But today it's the guitarist we'll be looking at. Roy Wood had started playing music when he was very young -- he'd had drum lessons when he was five years old, the only formal musical tuition he ever had, and he'd played harmonica around working men's clubs as a kid. And as a small child he'd loved classical music, particularly Tchaikovsky and Elgar. But it wasn't until he was twelve that he decided that he wanted to be a guitarist. He went to see the Shadows play live, and was inspired by the sound of Hank Marvin's guitar, which he later described as sounding "like it had been dipped in Dettol or something": [Excerpt: The Shadows, "Apache"] He started begging his parents for a guitar, and got one for his thirteenth birthday -- and by the time he was fourteen he was already in a band, the Falcons, whose members were otherwise eighteen to twenty years old, but who needed a lead guitarist who could play like Marvin. Wood had picked up the guitar almost preternaturally quickly, as he would later pick up every instrument he turned his hand to, and he'd also got the equipment. His friend Jeff Lynne later said "I first saw Roy playing in a church hall in Birmingham and I think his group was called the Falcons. And I could tell he was dead posh because he had a Fender Stratocaster and a Vox AC30 amplifier. The business at the time. I mean, if you've got those, that's it, you're made." It was in the Falcons that Wood had first started trying to write songs, at first instrumentals in the style of the Shadows, but then after the Beatles hit the charts he realised it was possible for band members to write their own material, and started hesitantly trying to write a few actual songs. Wood had moved on from the Falcons to Gerry Levene's band, one of the biggest local bands in Birmingham, when he was sixteen, which is also when he left formal education, dropping out from art school -- he's later said that he wasn't expelled as such, but that he and the school came to a mutual agreement that he wouldn't go back there. And when Gerry Levene and the Avengers fell apart after their one chance at success hadn't worked out, he moved on again to an even bigger band. Mike Sheridan and the Night Riders had had two singles out already, both produced by Cliff Richard's producer Norrie Paramor, and while they hadn't charted they were clearly going places. They needed a new guitarist, and Wood was by far the best of the dozen or so people who auditioned, even though Sheridan was very hesitant at first -- the Night Riders were playing cabaret, and all dressed smartly at all times, and this sixteen-year-old guitarist had turned up wearing clothes made by his sister and ludicrous pointy shoes. He was the odd man out, but he was so good that none of the other players could hold a candle to him, and he was in the Night Riders by the time of their third single, "What a Sweet Thing That Was": [Excerpt: Mike Sheridan and the Night Riders, "What a Sweet Thing That Was"] Sheridan later said "Roy was and still is, in my opinion, an unbelievable talent. As stubborn as a mule and a complete extrovert. Roy changed the group by getting us into harmonies and made us realize there was better material around with more than three chords to play. This was our turning point and we became a group's group and a bigger name." -- though there are few other people who would describe Wood as extroverted, most people describing him as painfully shy off-stage. "What a Sweet Thing That Was" didn't have any success, and nor did its follow-up, "Here I Stand", which came out in January 1965. But by that point, Wood had got enough of a reputation that he was already starting to guest on records by other bands on the Birmingham scene, like "Pretty Things" by Danny King and the Mayfair Set: [Excerpt: Danny King and the Mayfair Set, "Pretty Things"] After their fourth single was a flop, Mike Sheridan and the Night Riders changed their name to Mike Sheridan's Lot, and the B-side of their first single under the new name was a Roy Wood song, the first time one of his songs was recorded. Unfortunately the song, modelled on "It's Not Unusual" by Tom Jones, didn't come off very well, and Sheridan blamed himself for what everyone was agreed was a lousy sounding record: [Excerpt: Mike Sheridan's Lot, "Make Them Understand"] Mike Sheridan's Lot put out one final single, but the writing was on the wall for the group. Wood left, and soon after so did Sheridan himself. The remaining members regrouped under the name The Idle Race, with Wood's friend Jeff Lynne as their new singer and guitarist. But Wood wouldn't remain without a band for long. He'd recently started hanging out with another band, Carl Wayne and the Vikings, who had also released a couple of singles, on Pye: [Excerpt: Carl Wayne and the Vikings, "What's the Matter Baby"] But like almost every band from Birmingham up to this point, the Vikings' records had done very little, and their drummer had quit, and been replaced by Bev Bevan, who had been in yet another band that had gone nowhere, Denny Laine and the Diplomats, who had released one single under the name of their lead singer Nicky James, featuring the Breakaways, the girl group who would later sing on "Hey Joe", on backing vocals: [Excerpt: Nicky James, "My Colour is Blue"] Bevan had joined Carl Wayne's group, and they'd recorded one track together, a cover version of "My Girl", which was only released in the US, and which sank without a trace: [Excerpt: Carl Wayne and the Vikings, "My Girl"] It was around this time that Wood started hanging around with the Vikings, and they would all complain about how if you were playing the Birmingham circuit you were stuck just playing cover versions, and couldn't do anything more interesting. They were also becoming more acutely aware of how successful they *could* have been, because one of the Brumbeat bands had become really big. The Moody Blues, a supergroup of players from the best bands in Birmingham who featured Bev Bevan's old bandmate Denny Laine and Wood's old colleague Graeme Edge, had just hit number one with their version of "Go Now": [Excerpt: The Moody Blues, "Go Now"] So they knew the potential for success was there, but they were all feeling trapped. But then Ace Kefford, the bass player for the Vikings, went to see Davy Jones and the Lower Third playing a gig: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] Also at the gig was Trevor Burton, the guitarist for Danny King and the Mayfair Set. The two of them got chatting to Davy Jones after the gig, and eventually the future David Bowie told them that the two of them should form their own band if they were feeling constricted in their current groups. They decided to do just that, and they persuaded Carl Wayne from Kefford's band to join them, and got in Wood. Now they just needed a drummer. Their first choice was John Bonham, the former drummer for Gerry Levene and the Avengers who was now drumming in a band with Kefford's uncle and Nicky James from the Diplomats. But Bonham and Wayne didn't get on, and so Bonham decided to remain in the group he was in, and instead they turned to Bev Bevan, the Vikings' new drummer. (Of the other two members of the Vikings, one went on to join Mike Sheridan's Lot in place of Wood, before leaving at the same time as Sheridan and being replaced by Lynne, while the other went on to join Mike Sheridan's New Lot, the group Sheridan formed after leaving his old group. The Birmingham beat group scene seems to have only had about as many people as there were bands, with everyone ending up a member of twenty different groups). The new group called themselves the Move, because they were all moving on from other groups, and it was a big move for all of them. Many people advised them not to get together, saying they were better off where they were, or taking on offers they'd got from more successful groups -- Carl Wayne had had an offer from a group called the Spectres, who would later become famous as Status Quo, while Wood had been tempted by Tony Rivers and the Castaways, a group who at the time were signed to Immediate Records, and who did Beach Boys soundalikes and covers: [Excerpt: Tony Rivers and the Castaways, "Girl Don't Tell Me"] Wood was a huge fan of the Beach Boys and would have fit in with Rivers, but decided he'd rather try something truly new. After their first gig, most of the people who had warned against the group changed their minds. Bevan's best friend, Bobby Davis, told Bevan that while he'd disliked all the other groups Bevan had played in, he liked this one. (Davis would later become a famous comedian, and have a top five single himself in the seventies, produced by Jeff Lynne and with Bevan on the drums, under his stage name Jasper Carrott): [Excerpt: Jasper Carrott, "Funky Moped"] Most of their early sets were cover versions, usually of soul and Motown songs, but reworked in the group's unique style. All five of the band could sing, four of them well enough to be lead vocalists in their own right (Bevan would add occasional harmonies or sing novelty numbers) and so they became known for their harmonies -- Wood talked at the time about how he wanted the band to have Beach Boys harmonies but over instruments that sounded like the Who. And while they were mostly doing cover versions live, Wood was busily writing songs. Their first recording session was for local radio, and at that session they did cover versions of songs by Brenda Lee, the Isley Brothers, the Orlons, the Marvelettes, and Betty Everett, but they also performed four songs written by Wood, with each member of the front line taking a lead vocal, like this one with Kefford singing: [Excerpt: The Move, "You're the One I Need"] The group were soon signed by Tony Secunda, the manager of the Moody Blues, who set about trying to get the group as much publicity as possible. While Carl Wayne, as the only member who didn't play an instrument, ended up the lead singer on most of the group's early records, Secunda started promoting Kefford, who was younger and more conventionally attractive than Wayne, and who had originally put the group together, as the face of the group, while Wood was doing most of the heavy lifting with the music. Wood quickly came to dislike performing live, and to wish he could take the same option as Brian Wilson and stay home and write songs and make records while the other four went out and performed, so Kefford and Wayne taking the spotlight from him didn't bother him at the time, but it set the group up for constant conflicts about who was actually the leader of the group. Wood was also uncomfortable with the image that Secunda set up for the group. Secunda decided that the group needed to be promoted as "bad boys", and so he got them to dress up as 1930s gangsters, and got them to do things like smash busts of Hitler, or the Rhodesian dictator Ian Smith, on stage. He got them to smash TVs on stage too, and in one publicity stunt he got them to smash up a car, while strippers took their clothes off nearby -- claiming that this was to show that people were more interested in violence than in sex. Wood, who was a very quiet, unassuming, introvert, didn't like this sort of thing, but went along with it. Secunda got the group a regular slot at the Marquee club, which lasted several months until, in one of Secunda's ideas for publicity, Carl Wayne let off smoke bombs on stage which set fire to the stage. The manager came up to try to stop the fire, and Wayne tossed the manager's wig into the flames, and the group were banned from the club (though the ban was later lifted). In another publicity stunt, at the time of the 1966 General Election, the group were photographed with "Vote Tory" posters, and issued an invitation to Edward Heath, the leader of the Conservative Party and a keen amateur musician, to join them on stage on keyboards. Sir Edward didn't respond to the invitation. All this publicity led to record company interest. Joe Boyd tried to sign the group to Elektra Records, but much as with The Pink Floyd around the same time, Jac Holzman wasn't interested. Instead they signed with a new production company set up by Denny Cordell, the producer of the Moody Blues' hits. The contract they signed was written on the back of a nude model, as yet another of Secunda's publicity schemes. The group's first single, "Night of Fear" was written by Wood and an early sign of his interest in incorporating classical music into rock: [Excerpt: The Move, "Night of Fear"] Secunda claimed in the publicity that that song was inspired by taking bad acid and having a bad trip, but in truth Wood was more inspired by brown ale than by brown acid -- he and Bev Bevan would never do any drugs other than alcohol. Wayne did take acid once, but didn't like it, though Burton and Kefford would become regular users of most drugs that were going. In truth, the song was not about anything more than being woken up in the middle of the night by an unexpected sound and then being unable to get back to sleep because you're scared of what might be out there. The track reached number two on the charts in the UK, being kept off the top by "I'm a Believer" by the Monkees, and was soon followed up by another song which again led to assumptions of drug use. "I Can Hear the Grass Grow" wasn't about grass the substance, but was inspired by a letter to Health and Efficiency, a magazine which claimed to be about the nudist lifestyle as an excuse for printing photos of naked people at a time before pornography laws were liberalised. The letter was from a reader saying that he listened to pop music on the radio because "where I live it's so quiet I can hear the grass grow!" Wood took that line and turned it into the group's next single, which reached number five: [Excerpt: The Move, "I Can Hear the Grass Grow"] Shortly after that, the group played two big gigs at Alexandra Palace. The first was the Fourteen-Hour Technicolor Dream, which we talked about in the Pink Floyd episode. There Wood had one of the biggest thrills of his life when he walked past John Lennon, who saluted him and then turned to a friend and said "He's brilliant!" -- in the seventies Lennon would talk about how Wood was one of his two favourite British songwriters, and would call the Move "the Hollies with balls". The other gig they played at Alexandra Palace was a "Free the Pirates" benefit show, sponsored by Radio Caroline, to protest the imposition of the Marine Broadcasting (Offences) Act. Despite that, it was, of course, the group's next single that was the first one to be played on Radio One. And that single was also the one which kickstarted Roy Wood's musical ambitions. The catalyst for this was Tony Visconti. Visconti was a twenty-three-year-old American who had been in the music business since he was sixteen, working the typical kind of jobs that working musicians do, like being for a time a member of a latter-day incarnation of the Crew-Cuts, the white vocal group who had had hits in the fifties with covers of "Sh'Boom" and “Earth Angel”. He'd also recorded two singles as a duo with his wife Siegrid, which had gone nowhere: [Excerpt: Tony and Siegrid, "Up Here"] Visconti had been working for the Richmond Organisation as a staff songwriter when he'd met the Move's producer Denny Cordell. Cordell was in the US to promote a new single he had released with a group called Procol Harum, "A Whiter Shade of Pale", and Visconti became the first American to hear the record, which of course soon became a massive hit: [Excerpt: Procol Harum, "A Whiter Shade of Pale"] While he was in New York, Cordell also wanted to record a backing track for one of his other hit acts, Georgie Fame. He told Visconti that he'd booked several of the best session players around, like the jazz trumpet legend Clark Terry, and thought it would be a fun session. Visconti asked to look at the charts for the song, out of professional interest, and Cordell was confused -- what charts? The musicians would just make up an arrangement, wouldn't they? Visconti asked what he was talking about, and Cordell talked about how you made records -- you just got the musicians to come into the studio, hung around while they smoked a few joints and worked out what they were going to play, and then got on with it. It wouldn't take more than about twelve hours to get a single recorded that way. Visconti was horrified, and explained that that might be how they did things in London, but if Cordell tried to make a record that way in New York, with an eight-piece group of session musicians who charged union scale, and would charge double scale for arranging work on top, then he'd bankrupt himself. Cordell went pale and said that the session was in an hour, what was he going to do? Luckily, Cordell had a copy of the demo with him, and Visconti, who unlike Cordell was a trained musician, quickly sat down and wrote an arrangement for him, sketching out parts for guitar, bass, drums, piano, sax, and trumpets. The resulting arrangement wasn't perfect -- Visconti had to write the whole thing in less than an hour with no piano to hand -- but it was good enough that Cordell's production assistant on the track, Harvey Brooks of the group Electric Flag, who also played bass on the track, could tweak it in the studio, and the track was recorded quickly, saving Cordell a fortune: [Excerpt: Georgie Fame, "Because I Love You"] One of the other reasons Cordell had been in the US was that he was looking for a production assistant to work with him in the UK to help translate his ideas into language the musicians could understand. According to Visconti he said that he was going to try asking Phil Spector to be his assistant, and Artie Butler if Spector said no. Astonishingly, assuming he did ask them, neither Phil Spector nor Artie Butler (who was the arranger for records like "Leader of the Pack" and "I'm a Believer" among many, many, others, and who around this time was the one who suggested to Louis Armstrong that he should record "What a Wonderful World") wanted to fly over to the UK to work as Denny Cordell's assistant, and so Cordell turned back to Visconti and invited him to come over to the UK. The main reason Cordell needed an assistant was that he had too much work on his hands -- he was currently in the middle of recording albums for three major hit groups -- Procol Harum, The Move, and Manfred Mann -- and he physically couldn't be in multiple studios at once. Visconti's first work for him was on a Manfred Mann session, where they were recording the Randy Newman song "So Long Dad" for their next single. Cordell produced the rhythm track then left for a Procol Harum session, leaving Visconti to guide the group through the overdubs, including all the vocal parts and the lead instruments: [Excerpt: Manfred Mann, "So Long Dad"] The next Move single, "Flowers in the Rain", was the first one to benefit from Visconti's arrangement ideas. The band had recorded the track, and Cordell had been unhappy with both the song and performance, thinking it was very weak compared to their earlier singles -- not the first time that Cordell would have a difference of opinion with the band, who he thought of as a mediocre pop group, while they thought of themselves as a heavy rock band who were being neutered in the studio by their producer. In particular, Cordell didn't like that the band fell slightly out of time in the middle eight of the track. He decided to scrap it, and get the band to record something else. Visconti, though, thought the track could be saved. He told Cordell that what they needed to do was to beat the Beatles, by using a combination of instruments they hadn't thought of. He scored for a quartet of wind instruments -- oboe, flute, clarinet, and French horn, in imitation of Mendelssohn: [Excerpt: The Move, "Flowers in the Rain"] And then, to cover up the slight sloppiness on the middle eight, Visconti had the wind instruments on that section recorded at half speed, so when played back at normal speed they'd sound like pixies and distract from the rhythm section: [Excerpt: The Move, "Flowers in the Rain"] Visconti's instincts were right. The single went to number two, kept off the top spot by Englebert Humperdinck, who spent 1967 keeping pretty much every major British band off number one, and thanks in part to it being the first track played on Radio 1, but also because it was one of the biggest hits of 1967, it's been the single of the Move's that's had the most airplay over the years. Unfortunately, none of the band ever saw a penny in royalties from it. It was because of another of Tony Secunda's bright ideas. Harold Wilson, the Prime Minister at the time, was very close to his advisor Marcia Williams, who started out as his secretary, rose to be his main political advisor, and ended up being elevated to the peerage as Baroness Falkender. There were many, many rumours that Williams was corrupt -- rumours that were squashed by both Wilson and Williams frequently issuing libel writs against newspapers that mentioned them -- though it later turned out that at least some of these were the work of Britain's security services, who believed Wilson to be working for the KGB (and indeed Williams had first met Wilson at a dinner with Khrushchev, though Wilson was very much not a Communist) and were trying to destabilise his government as a result. Their personal closeness also led to persistent rumours that Wilson and Williams were having an affair. And Tony Secunda decided that the best way to promote "Flowers in the Rain" was to print a postcard with a cartoon of Wilson and Williams on it, and send it out. Including sticking a copy through the door of ten Downing St, the Prime Minister's official residence. This backfired *spectacularly*. Wilson sued the Move for libel, even though none of them had known of their manager's plans, and as a result of the settlement it became illegal for any publication to print the offending image (though it can easily be found on the Internet now of course), everyone involved with the record was placed under a permanent legal injunction to never discuss the details of the case, and every penny in performance or songwriting royalties the track earned would go to charities of Harold Wilson's choice. In the 1990s newspaper reports said that the group had up to that point lost out on two hundred thousand pounds in royalties as a result of Secunda's stunt, and given the track's status as a perennial favourite, it's likely they've missed out on a similar amount in the decades since. Incidentally, while every member of the band was banned from ever describing the postcard, I'm not, and since Wilson and Williams are now both dead it's unlikely they'll ever sue me. The postcard is a cartoon in the style of Aubrey Beardsley, and shows Wilson as a grotesque naked homunculus sat on a bed, with Williams naked save for a diaphonous nightgown through which can clearly be seen her breasts and genitals, wearing a Marie Antoinette style wig and eyemask and holding a fan coquettishly, while Wilson's wife peers at them through a gap in the curtains. The text reads "Disgusting Depraved Despicable, though Harold maybe is the only way to describe "Flowers in the Rain" The Move, released Aug 23" The stunt caused huge animosity between the group and Secunda, not only because of the money they lost but also because despite Secunda's attempts to associate them with the Conservative party the previous year, Ace Kefford was upset at an attack on the Labour leader -- his grandfather was a lifelong member of the Labour party and Kefford didn't like the idea of upsetting him. The record also had a knock-on effect on another band. Wood had given the song "Here We Go Round the Lemon Tree" to his friends in The Idle Race, the band that had previously been Mike Sheridan and the Night Riders, and they'd planned to use their version as their first single: [Excerpt: The Idle Race, "Here We Go Round the Lemon Tree"] But the Move had also used the song as the B-side for their own single, and "Flowers in the Rain" was so popular that the B-side also got a lot of airplay. The Idle Race didn't want to be thought of as a covers act, and so "Lemon Tree" was pulled at the last minute and replaced by "Impostors of Life's Magazine", by the group's guitarist Jeff Lynne: [Excerpt: The Idle Race, "Impostors of Life's Magazine"] Before the problems arose, the Move had been working on another single. The A-side, "Cherry Blossom Clinic", was a song about being in a psychiatric hospital, and again had an arrangement by Visconti, who this time conducted a twelve-piece string section: [Excerpt: The Move, "Cherry Blossom Clinic"] The B-side, meanwhile, was a rocker about politics: [Excerpt: The Move, "Vote For Me"] Given the amount of controversy they'd caused, the idea of a song about mental illness backed with one about politics seemed a bad idea, and so "Cherry Blossom Clinic" was kept back as an album track while "Vote For Me" was left unreleased until future compilations. The first Wood knew about "Cherry Blossom Clinic" not being released was when after a gig in London someone -- different sources have it as Carl Wayne or Tony Secunda -- told him that they had a recording session the next morning for their next single and asked what song he planned on recording. When he said he didn't have one, he was sent up to his hotel room with a bottle of Scotch and told not to come down until he had a new song. He had one by 8:30 the next morning, and was so drunk and tired that he had to be held upright by his bandmates in the studio while singing his lead vocal on the track. The song was inspired by "Somethin' Else", a track by Eddie Cochran, one of Wood's idols: [Excerpt: Eddie Cochran, "Somethin' Else"] Wood took the bass riff from that and used it as the basis for what was the Move's most straight-ahead rock track to date. As 1967 was turning into 1968, almost universally every band was going back to basics, recording stripped down rock and roll tracks, and the Move were no exception. Early takes of "Fire Brigade" featured Matthew Fisher of Procol Harum on piano, but the final version featured just guitar, bass, drums and vocals, plus a few sound effects: [Excerpt: The Move, "Fire Brigade"] While Carl Wayne had sung lead or co-lead on all the Move's previous singles, he was slowly being relegated into the background, and for this one Wood takes the lead vocal on everything except the brief bridge, which Wayne sings: [Excerpt: The Move, "Fire Brigade"] The track went to number three, and while it's not as well-remembered as a couple of other Move singles, it was one of the most influential. Glen Matlock of the Sex Pistols has often said that the riff for "God Save the Queen" is inspired by "Fire Brigade": [Excerpt: The Sex Pistols, "God Save the Queen"] The reversion to a heavier style of rock on "Fire Brigade" was largely inspired by the group's new friend Jimi Hendrix. The group had gone on a package tour with The Pink Floyd (who were at the bottom of the bill), Amen Corner, The Nice, and the Jimi Hendrix Experience, and had become good friends with Hendrix, often jamming with him backstage. Burton and Kefford had become so enamoured of Hendrix that they'd both permed their hair in imitation of his Afro, though Burton regretted it -- his hair started falling out in huge chunks as a result of the perm, and it took him a full two years to grow it out and back into a more natural style. Burton had started sharing a flat with Noel Redding of the Jimi Hendrix Experience, and Burton and Wood had also sung backing vocals with Graham Nash of the Hollies on Hendrix's "You Got Me Floatin'", from his Axis: Bold as Love album: [Excerpt: The Jimi Hendrix Experience, "You Got Me Floatin'"] In early 1968, the group's first album came out. In retrospect it's arguably their best, but at the time it felt a little dated -- it was a compilation of tracks recorded between late 1966 and late 1967, and by early 1968 that might as well have been the nineteenth century. The album included their two most recent singles, a few more songs arranged by Visconti, and three cover versions -- versions of Eddie Cochran's "Weekend", Moby Grape's "Hey Grandma", and the old standard "Zing! Went the Strings of My Heart", done copying the Coasters' arrangement with Bev Bevan taking a rare lead vocal. By this time there was a lot of dissatisfaction among the group. Most vocal -- or least vocal, because by this point he was no longer speaking to any of the other members, had been Ace Kefford. Kefford felt he was being sidelined in a band he'd formed and where he was the designated face of the group. He'd tried writing songs, but the only one he'd brought to the group, "William Chalker's Time Machine", had been rejected, and was eventually recorded by a group called The Lemon Tree, whose recording of it was co-produced by Burton and Andy Fairweather-Low of Amen Corner: [Excerpt: The Lemon Tree, "William Chalker's Time Machine"] He was also, though the rest of the group didn't realise it at the time, in the middle of a mental breakdown, which he later attributed to his overuse of acid. By the time the album, titled Move, came out, he'd quit the group. He formed a new group, The Ace Kefford Stand, with Cozy Powell on drums, and they released one single, a cover version of the Yardbirds' "For Your Love", which didn't chart: [Excerpt: The Ace Kefford Stand, "For Your Love"] Kefford recorded a solo album in 1968, but it wasn't released until an archival release in 2003, and he spent most of the next few decades dealing with mental health problems. The group continued on as a four-piece, with Burton moving over to bass. While they thought about what to do -- they were unhappy with Secunda's management, and with the sound that Cordell was getting from their recordings, which they considered far wimpier than their live sound -- they released a live EP of cover versions, recorded at the Marquee. The choice of songs for the EP showed their range of musical influences at the time, going from fifties rockabilly to the burgeoning progressive rock scene, with versions of Cochran's "Somethin' Else", Jerry Lee Lewis' "It'll Be Me", "So You Want to Be a Rock and Roll Star" by the Byrds, "Sunshine Help Me" by Spooky Tooth, and "Stephanie Knows Who" by Love: [Excerpt: The Move, "Stephanie Knows Who"] Incidentally, later that year they headlined a gig at the Royal Albert Hall with the Byrds as the support act, and Gram Parsons, who by that time was playing guitar for the Byrds, said that the Move did "So You Want to Be a Rock and Roll Star" better than the Byrds did. The EP, titled "Something Else From the Move", didn't do well commercially, but it did do something that the band thought important -- Trevor Burton in particular had been complaining that Denny Cordell's productions "took the toughness out" of the band's sound, and was worried that the group were being perceived as a pop band, not as a rock group like his friends in the Jimi Hendrix Experience or Cream. There was an increasing tension between Burton, who wanted to be a heavy rocker, and the older Wayne, who thought there was nothing at all wrong with being a pop band. The next single, "Wild Tiger Woman", was much more in the direction that Burton wanted their music to go. It was ostensibly produced by Cordell, but for the most part he left it to the band, and as a result it ended up as a much heavier track than normal. Roy Wood had only intended the song as an album track, and Bevan and Wayne were hesitant about it being a single, but Burton was insistent -- "Wild Tiger Woman" was going to be the group's first number one record: [Excerpt: The Move, "Wild Tiger Woman"] In fact, it turned out to be the group's first single not to chart at all, after four top ten singles in a row. The group were now in crisis. They'd lost Ace Kefford, Burton and Wayne were at odds, and they were no longer guaranteed hitmakers. They decided to stop working with Cordell and Secunda, and made a commitment that if the next single was a flop, they would split up. In any case, Roy Wood was already thinking about another project. Even though the group's recent records had gone in a guitar-rock direction, he thought maybe you could do something more interesting. Ever since seeing Tony Visconti conduct orchestral instruments playing his music, he'd been thinking about it. As he later put it "I thought 'Well, wouldn't it be great to get a band together, and rather than advertising for a guitarist how about advertising for a cellist or a French horn player or something? There must be lots of young musicians around who play the... instruments that would like to play in a rock kind of band.' That was the start of it, it really was, and I think after those tracks had been recorded with Tony doing the orchestral arrangement, that's when I started to get bored with the Move, with the band, because I thought 'there's something more to it'". He'd started sketching out plans for an expanded lineup of the group, drawing pictures of what it would look like on stage if Carl Wayne was playing timpani while there were cello and French horn players on stage with them. He'd even come up with a name for the new group -- a multi-layered pun. The group would be a light orchestra, like the BBC Light Orchestra, but they would be playing electrical instruments, and also they would have a light show when they performed live, and so he thought "the Electric Light Orchestra" would be a good name for such a group. The other band members thought this was a daft idea, but Wood kept on plotting. But in the meantime, the group needed some new management. The person they chose was Don Arden. We talked about Arden quite a bit in the last episode, but he's someone who is going to turn up a lot in future episodes, and so it's best if I give a little bit more background about him. Arden was a manager of the old school, and like several of the older people in the music business at the time, like Dick James or Larry Page, he had started out as a performer, doing an Al Jolson tribute act, and he was absolutely steeped in showbusiness -- his wife had been a circus contortionist before they got married, and when he moved from Manchester to London their first home had been owned by Winifred Atwell, a boogie piano player who became the first Black person to have a UK number one -- and who is *still* the only female solo instrumentalist to have a UK number one -- with her 1954 hit "Let's Have Another Party": [Excerpt: WInifred Atwell, "Let's Have Another Party"] That was only Atwell's biggest in a long line of hits, and she'd put all her royalties into buying properties in London, one of which became the Ardens' home. Arden had been considered quite a promising singer, and had made a few records in the early 1950s. His first recordings, of material in Yiddish aimed at the Jewish market, are sadly not findable online, but he also apparently recorded as a session singer for Embassy Records. I can't find a reliable source for what records he sang on for that label, which put out budget rerecordings of hits for sale exclusively through Woolworths, but according to Wikipedia one of them was Embassy's version of "Blue Suede Shoes", put out under the group name "The Canadians", and the lead vocal on that track certainly sounds like it could be him: [Excerpt: The Canadians, "Blue Suede Shoes"] As you can tell, rock and roll didn't really suit Arden's style, and he wisely decided to get out of performance and into behind-the-scenes work, though he would still try on occasion to make records of his own -- an acetate exists from 1967 of him singing "Sunrise, Sunset": [Excerpt: Don Arden, "Sunrise, Sunset"] But he'd moved first into promotion -- he'd been the promoter who had put together tours of the UK for Gene Vincent, Little Richard, Brenda Lee and others which we mentioned in the second year of the podcast -- and then into management. He'd first come into management with the Animals -- apparently acting at that point as the money man for Mike Jeffries, who was the manager the group themselves dealt with. According to Arden -- though his story differs from the version of the story told by others involved -- the group at some point ditched Arden for Allen Klein, and when they did, Arden's assistant Peter Grant, another person we'll be hearing a lot more of, went with them. Arden, by his own account, flew over to see Klein and threatened to throw him out of the window of his office, which was several stories up. This was a threat he regularly made to people he believed had crossed him -- he made a similar threat to one of the Nashville Teens, the first group he managed after the Animals, after the musician asked what was happening to the group's money. And as we heard last episode, he threatened Robert Stigwood that way when Stigwood tried to get the Small Faces off him. One of the reasons he'd signed the Small Faces was that Steve Marriott had gone to the Italia Conti school, where Arden had sent his own children, Sharon and David, and David had said that Marriott was talented. And David was also a big reason the Move came over to Arden. After the Small Faces had left him, Arden had bought Galaxy Entertaimnent, the booking agency that handled bookings for Amen Corner and the Move, among many other acts. Arden had taken over management of Amen Corner himself, and had put his son David in charge of liaising with Tony Secunda about the Move. But David Arden was sure that the Move could be an albums act, not just a singles act, and was convinced the group had more potential than they were showing, and when they left Secunda, Don Arden took them on as his clients, at least for the moment. Secunda, according to Arden (who is not the most reliable of witnesses, but is unfortunately the only one we have for a lot of this stuff) tried to hire someone to assassinate Arden, but Arden quickly let Secunda know that if anything happened to Arden, Secunda himself would be dead within the hour. As "Wild Tiger Woman" hadn't been a hit, the group decided to go back to their earlier "Flowers in the Rain" style, with "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] That track was produced by Jimmy Miller, who was producing the Rolling Stones and Traffic around this time, and featured the group's friend Richard Tandy on harpsichord. It's also an example of the maxim "Good artists copy, great artists steal". There are very few more blatant examples of plagiarism in pop music than the middle eight of "Blackberry Way". Compare Harry Nilsson's "Good Old Desk": [Excerpt: Nilsson, "Good Old Desk"] to the middle eight of "Blackberry Way": [Excerpt: The Move, "Blackberry Way"] "Blackberry Way" went to number one, but that was the last straw for Trevor Burton -- it was precisely the kind of thing he *didn't* want to be doing,. He was so sick of playing what he thought of as cheesy pop music that at one show he attacked Bev Bevan on stage with his bass, while Bevan retaliated with his cymbals. He stormed off stage, saying he was "tired of playing this crap". After leaving the group, he almost joined Blind Faith, a new supergroup that members of Cream and Traffic were forming, but instead formed his own supergroup, Balls. Balls had a revolving lineup which at various times included Denny Laine, formerly of the Moody Blues, Jackie Lomax, a singer-songwriter who was an associate of the Beatles, Richard Tandy who had played on "Blackberry Way", and Alan White, who would go on to drum with the band Yes. Balls only released one single, "Fight for My Country", which was later reissued as a Trevor Burton solo single: [Excerpt: Balls, "Fight For My Country"] Balls went through many lineup changes, and eventually seemed to merge with a later lineup of the Idle Race to become the Steve Gibbons Band, who were moderately successful in the seventies and eighties. Richard Tandy covered on bass for a short while, until Rick Price came in as a permanent replacement. Before Price, though, the group tried to get Hank Marvin to join, as the Shadows had then split up, and Wood was willing to move over to bass and let Marvin play lead guitar. Marvin turned down the offer though. But even though "Blackberry Way" had been the group's biggest hit to date, it marked a sharp decline in the group's fortunes. Its success led Peter Walsh, the manager of Marmalade and the Tremeloes, to poach the group from Arden, and even though Arden took his usual heavy-handed approach -- he describes going and torturing Walsh's associate, Clifford Davis, the manager of Fleetwood Mac, in his autobiography -- he couldn't stop Walsh from taking over. Unfortunately, Walsh put the group on the chicken-in-a-basket cabaret circuit, and in the next year they only released one record, the single "Curly", which nobody was happy with. It was ostensibly produced by Mike Hurst, but Hurst didn't turn up to the final sessions and Wood did most of the production work himself, while in the next studio over Jimmy Miller, who'd produced "Blackberry Way", was producing "Honky Tonk Women" by the Rolling Stones. The group were getting pigeonholed as a singles group, at a time when album artists were the in thing. In a three-year career they'd only released one album, though they were working on their second. Wood was by this point convinced that the Move was unsalvageable as a band, and told the others that the group was now just going to be a launchpad for his Electric Light Orchestra project. The band would continue working the chicken-in-a-basket circuit and releasing hit singles, but that would be just to fund the new project -- which they could all be involved in if they wanted, of course. Carl Wayne, on the other hand, was very, very, happy playing cabaret, and didn't see the need to be doing anything else. He made a counter-suggestion to Wood -- keep The Move together indefinitely, but let Wood do the Brian Wilson thing and stay home and write songs. Wayne would even try to get Burton and Kefford back into the band. But Wood wasn't interested. Increasingly his songs weren't even going to the Move at all. He was writing songs for people like Cliff Bennett and the Casuals. He wrote "Dance Round the Maypole" for Acid Gallery: [Excerpt: Acid Gallery, "Dance Round the Maypole"] On that, Wood and Jeff Lynne sang backing vocals. Wood and Lynne had been getting closer since Lynne had bought a home tape recorder which could do multi-tracking -- Wood had wanted to buy one of his own after "Flowers in the Rain", but even though he'd written three hit singles at that point his publishing company wouldn't give him an advance to buy one, and so he'd started using Lynne's. The two have often talked about how they'd recorded the demo for "Blackberry Way" at Lynne's parents' house, recording Wood's vocal on the demo with pillows and cushions around his head so that his singing wouldn't wake Lynne's parents. Lynne had been another person that Wood had asked to join the group when Burton left, but Lynne was happy with The Idle Race, where he was the main singer and songwriter, though their records weren't having any success: [Excerpt: The Idle Race, "I Like My Toys"] While Wood was writing material for other people, the only one of those songs to become a hit was "Hello Suzie", written for Amen Corner, which became a top five single on Immediate Records: [Excerpt: Amen Corner, "Hello Suzie"] While the Move were playing venues like Batley Variety Club in Britain, when they went on their first US tour they were able to play for a very different audience. They were unknown in the US, and so were able to do shows for hippie audiences that had no preconceptions about them, and did things like stretch "Cherry Blossom Clinic" into an eight-minute-long extended progressive rock jam that incorporated bits of "Jesu, Joy of Man's Desiring", the Nutcracker Suite, and the Sorcerer's Apprentice: [Excerpt: The Move, "Cherry Blossom Clinic Revisited (live at the Fillmore West)"] All the group were agreed that those shows were the highlight of the group's career. Even Carl Wayne, the band member most comfortable with them playing the cabaret circuit, was so proud of the show at the Fillmore West which that performance is taken from that when the tapes proved unusable he kept hold of them, hoping all his life that technology would progress to the point where they could be released and show what a good live band they'd been, though as things turned out they didn't get released until after his death. But when they got back to the UK it was back to the chicken-in-a-basket circuit, and back to work on their much-delayed second album. That album, Shazam!, was the group's attempt at compromise between their different visions. With the exception of one song, it's all heavy rock music, but Wayne, Wood, and Price all co-produced, and Wayne had the most creative involvement he'd ever had. Side two of the album was all cover versions, chosen by Wayne, and Wayne also went out onto the street and did several vox pops, asking members of the public what they thought of pop music: [Excerpt: Vox Pops from "Don't Make My Baby Blue"] There were only six songs on the album, because they were mostly extended jams. Other than the three cover versions chosen by Wayne, there was a sludge-metal remake of "Hello Suzie", the new arrangement of "Cherry Blossom Clinic" they'd been performing live, retitled "Cherry Blossom Clinic Revisited", and only one new original, "Beautiful Daughter", which featured a string arrangement by Visconti, who also played bass: [Excerpt: The Move, "Beautiful Daughter"] And Carl Wayne sang lead on five of the six tracks, which given that one of the reasons Wayne was getting unhappy with the band was that Wood was increasingly becoming the lead singer, must have been some comfort. But it wasn't enough. By the time Shazam! came out, with a cover drawn by Mike Sheridan showing the four band members as superheroes, the band was down to three -- Carl Wayne had quit the group, for a solo career. He continued playing the cabaret circuit, and made records, but never had another hit, but he managed to have a very successful career as an all-round entertainer, acting on TV and in the theatre, including a six-year run as the narrator in the musical Blood Brothers, and replacing Alan Clarke as the lead singer of the Hollies. He died in 2004. As soon as Wayne left the group, the three remaining band members quit their management and went back to Arden. And to replace Wayne, Wood once again asked Jeff Lynne to join the group. But this time the proposition was different -- Lynne wouldn't just be joining the Move, but he would be joining the Electric Light Orchestra. They would continue putting out Move records and touring for the moment, and Lynne would be welcome to write songs for the Move so that Wood wouldn't have to be the only writer, but they'd be doing it while they were planning their new group. Lynne was in, and the first single from the new lineup was a return to the heavy riff rock style of "Wild Tiger Woman", "Brontosaurus": [Excerpt: The Move, "Brontosaurus"] But Wayne leaving the group had put Wood in a difficult position. He was now the frontman, and he hated that responsibility -- he said later "if you look at me in photos of the early days, I'm always the one hanging back with my head down, more the musician than the frontman." So he started wearing makeup, painting his face with triangles and stars, so he would be able to hide his shyness. And it worked -- and "Brontosaurus" returned the group to the top ten. But the next single, "When Alice Comes Back to the Farm", didn't chart at all. The first album for the new Move lineup, Looking On, was to finish their contract with their current record label. Many regard it as the group's "Heavy metal album", and it's often considered the worst of their four albums, with Bev Bevan calling it "plodding", but that's as much to do with Bevan's feeling about the sessions as anything else -- increasingly, after the basic rhythm tracks had been recorded, Wood and Lynne would get to work without the other two members of the band, doing immense amounts of overdubbing. And that continued after Looking On was finished. The group signed a new contract with EMI's new progressive rock label, Harvest, and the contract stated that they were signing as "the Move performing as The Electric Light Orchestra". They started work on two albums' worth of material, with the idea that anything with orchestral instruments would be put aside for the first Electric Light Orchestra album, while anything with just guitar, bass, drums, keyboard, and horns would be for the Move. The first Electric Light Orchestra track, indeed, was intended as a Move B-side. Lynne came in with a song based around a guitar riff, and with lyrics vaguely inspired by the TV show The Prisoner, about someone with a number instead of a name running, trying to escape, and then eventually dying. But then Wood decided that what the track really needed was cello. But not cello played in the standard orchestral manner, but something closer to what the Beatles had done on "I am the Walrus". He'd bought a cheap cello himself, and started playing Jimi Hendrix riffs on it, and Lynne loved the sound of it, so onto the Move's basic rhythm track they overdubbed fifteen cello tracks by Wood, and also two French horns, also by Wood: [Excerpt: The Electric Light Orchestra, "10538 Overture"] The track was named "10538 Overture", after they saw the serial number 1053 on the console they were using to mix the track, and added the number 8 at the end, making 10538 the number of the character in the song. Wood and Lynne were so enamoured with the sound of their new track that they eventually got told by the other two members of the group that they had to sit in the back when the Move were driving to gigs, so they couldn't reach the tape player, because they'd just keep playing the track over and over again. So they got a portable tape player and took that into the back seat with them to play it there. After finishing some pre-existing touring commitments, the Move and Electric Light Orchestra became a purely studio group, and Rick Price quit the bands -- he needed steady touring work to feed his family, and went off to form another band, Mongrel. Around this time, Wood also took part in another strange project. After Immediate Records collapsed, Andrew Oldham needed some fast money, so he and Don Arden put together a fake group they could sign to EMI for ten thousand pounds. The photo of the band Grunt Futtock was of some random students, and that was who Arden and Oldham told EMI was on the track, but the actual performers on the single included Roy Wood, Steve Marriott, Peter Frampton, and Andy Bown, the former keyboard player of the Herd: [Excerpt: Grunt Futtock, "Rock 'n' Roll Christian"] Nobody knows who wrote the song, although it's credited to Bernard Webb, which is a pseudonym Paul McCartney had previously used -- but everyone knew he'd used the pseudonym, so it could very easily be a nod to that. The last Move album, Message From The Country, didn't chart -- just like the previous two hadn't. But Wood's song "Tonight" made number eleven, the follow-up, "Chinatown", made number twenty-three, and then the final Move single, "California Man", a fifties rock and roll pastiche, made the top ten: [Excerpt: The Move, "California Man"] In the US, that single was flipped, and the B-side, Lynne's song "Do Ya", became the only Move song ever to make the Hot One Hundred, reaching number ninety-nine: [Excerpt: The Move, "Do Ya"] By the time "California Man" was released, the Electric Light Orchestra were well underway. They'd recorded their first album, whose biggest highlights were Lynne's "10538 Overture" and Wood's "Whisper in the Night": [Excerpt: The Electric Light Orchestra, "Whisper in the Night"] And they'd formed a touring lineup, including Richard Tandy on keyboards and several orchestral instrumentalists. Unfortunately, there were problems developing between Wood and Lynne. When the Electric Light Orchestra toured, interviewers only wanted to speak to Wood, thinking of him as the band leader, even though Wood insisted that he and Lynne were the joint leaders. And both men had started arguing a lot, to the extent that at some shows they would refuse to go on stage because of arguments as to which of them should go on first. Wood has since said that he thinks most of the problems between Lynne and himself were actually caused by Don Arden, who realised that if he split the two of them into separate acts he could have two hit groups, not one. If that was the plan, it worked, because by the time "10538 Overture" was released as the Electric Light Orchestra's first single, and made the top ten -- while "California Man" was also still in the charts -- it was announced that Roy Wood was now leaving the Electric Light Orchestra, as were keyboard playe
Thinking Cap Theatre's Artistic Director Nicole Stodard Ph.D talks with Matthew Sturgis, author of biography Oscar Wilde: A Life. MATTHEW STURGIS BIO Matthew Sturgis is an historian and biographer, the author of Acclaimed Lives of Aubrey Beardsley and Walter Sickert, as well as Passionate Attitudes, a history of the English Decadence of the 1890s. He has also written a study of Biblical archaeology – It Ain't Necessarily So – and a history of Hampton Court Palace to tie in with a Channel 4 series. He has contributed to the TLS, Daily Telegraph and Independent on Sunday. He is a member of the Oscar Wilde Society and contributes reviews to their journal The Wildean. His major biography of OSCAR WILDE was published by Head of Zeus in 2018. ABOUT THE BOOK The fullest, most textural, most accurate—most human—account of Oscar Wilde's unique and dazzling life—based on extensive new research and newly discovered materials, from Wilde's personal letters and transcripts of his first trial to newly uncovered papers of his early romantic (and dangerous) escapades and the two-year prison term that shattered his soul and his life. "Simply the best modern biography of Wilde." —Evening Standard Drawing on material that has come to light in the past thirty years, including newly discovered letters, documents, first draft notebooks, and the full transcript of the libel trial, Matthew Sturgis meticulously portrays the key events and influences that shaped Oscar Wilde's life, returning the man "to his times, and to the facts," giving us Wilde's own experience as he experienced it. Here, fully and richly portrayed, is Wilde's Irish childhood; a dreamy, aloof boy; a stellar classicist at boarding school; a born entertainer with a talent for comedy and a need for an audience; his years at Oxford, a brilliant undergraduate punctuated by his reckless disregard for authority . . . his arrival in London, in 1878, "already noticeable everywhere" . . . his ten-year marriage to Constance Lloyd, the father of two boys; Constance unwittingly welcoming young men into the household who became Oscar's lovers, and dying in exile at the age of thirty-nine . . . Wilde's development as a playwright. . . becoming the high priest of the aesthetic movement; his successes . . . his celebrity. . . and in later years, his irresistible pull toward another—double—life, in flagrant defiance and disregard of England's strict sodomy laws ("the blackmailer's charter"); the tragic story of his fall that sent him to prison for two years at hard labor, destroying his life and shattering his soul. --- Support this podcast: https://podcasters.spotify.com/pod/show/thinking-cap-theatre/support
Schon als Kind litt Aubrey Beardsley an Schwindsucht, an der er mit nur 25 Jahren verstarb. In seinem recht kurzen Leben schuf der Grafiker tausende Werke - und schockte mit seinen teils obszönen Werken die spätviktorianische Gesellschaft. Sein Einfluss bleibt bis heute enorm.Von Ruth Rachwww.deutschlandfunk.de, KalenderblattDirekter Link zur Audiodatei
Karina talks with Prof Emma Sutton about the myriad of ways that classical music is relevant to Woolf's life and work. They discuss how innovations in early twentieth century music influenced changes in modern literature and how this music impacted on Woolf's writing process. Prof Emma Sutton a professor of English at the University of St Andrews, and has published widely on the relationships among music, literature and fine art in the nineteenth and twentieth century. She is author of Aubrey Beardsley and British Wagnerism in the 1890s (Oxford, 2002), Virginia Woolf and Classical Music (Edinburgh, 2013). She is also Founding Director of the Woolf and Music project. To learn more about Literature Cambridge, go to https://www.literaturecambridge.co.uk or follow them on:Twitter @LitCamband Instagram: @litcamb
In this episode Ariel talks about the power of tarot, its history and how the divination technique works. https://apple.news/Awy0lpBzwRzmr6ChYmvD7-A This article details the creation of the art of the Rider-Waite deck, an influential deck in the early 20th century that was actually designed by a woman, Pamela Colman Smith, who got no credit for her work. "Now, over 70 years after her death, the creator Pamela Colman Smith has been included in a new exhibition at the Whitney Museum of American Art in New York highlighting many underappreciated artists of early 20th-century American modernism in addition to famous names like Georgia O'Keeffe and Louise Nevelson." This show at the Whitney Museum is curated by Barbara Haskell. She was interviewed and quoted for the article quoted, below. "Tarot has been around since early 15th-century Italy, spun off from traditional playing cards. The 78 cards are split into two groups called the Major and Minor Arcana. The Major Arcana features allegorical characters like the moon, sun, the fool and the lovers, while the Minor Arcana is divided into numbered and face cards in four suits: wands, swords, cups and pentacles. While prior decks were less pictorial in nature, Smith's is filled with lush imagery that makes their interpretation easier for the reader." Information from Ariel Hubbard's Handout for her Introduction to Tarot Part One Class. You may take this class directly with Ariel on Zoom or in person. Reach out to enroll. Divination is an art, not a science. It also takes time to develop your ability to be divine. These cards empower your ability to intuitively sense the flow of energetic, spiritual, physical, emotional and archetypal influences in your life, and how they have manifested in your past, present or future. If you work with these cards regularly, their energy as well as the practice will assist you. It is important to clear the cards before and after each reading. Use the Violet Flame, Reiki, prayer, White Light, crystals, or any other preferred method. Set your intention before each reading, or portion of a reading. “Please let the cards tell us what we need to know in this situation, for the Highest Good for All.” Or, “Please give us insight into the people involved in this situation (name the situation.)” Or, “Where is this situation taking us?” Be as specific as you can. “Please tell us what we most need to know.” You can set the cards in specific locations to do a reading, and then you can also change their locations as you discuss options or suggestions to help a client address issues associated with a situation. This shifts energy when you do this. Remember that if you are doing a reading for yourself and you are attached to the outcome, it is important to do your best to release the attachment or have someone else do a reading for you so the information can be clear. Avoid doing readings if you are not clear energetically or emotionally. KEY TAKEAWAYS The art of the Tarot cards was done by a woman, Pamela Coleman Smith, who had synesthesia, which is a neurological condition that causes the person to see shapes and colours when they hear sounds. The art itself is from the symbolist tradition, influenced by English artist Aubrey Beardsley and the Pre-Raphaelites. They work with archetypes which all people can relate to, all of your thoughts, feelings, perceptions, influences and beliefs exist as energy patterns in your auric field. As you move through your life, the universe scans your energy and it knows what you’re thinking, feeling, believing, what you think is true, what’s coming to you, all of those things. It reads those energies so that when you hold a clear deck of tarot cards and you set the intention “please let me know what I need to for my highest good” your energies are read, and it selects the information that you need to know and shows you pictures of what’s happening using the images on the cards. You may not always understand what the cards are saying, you may have to let it settle in, sometimes you need have to let yourself know what it means a week later, because it could be reading what’s coming to you along your timeline, like a psychic, or what has come to you, or what you’re experiencing right now. People can have thoughts, beliefs, emotions, perceptions and then when they alter and change them, they can get a totally different result in their external life. That’s why a lot of people talk about using affirmations and changing your thoughts and belief systems to create or manifest different results in your life. It’s different from magical thinking. BEST MOMENTS “People who have lived with Christian influences are often told that divination, which is thousands of years old, is influenced by negative energies. That’s not true if you set the correct intention.” “Tarot cards can read events from your past, your present and your future provided that that’s what you set the intention for.” “It’s important to work with a skilled practitioner who’s energetically clear themselves. You can read the cards yourself, but you need to be unattached to the outcome to get more accurate information.” “Divination is an art not a science, obviously. It takes a long time to develop your divine ability to divine.” ABOUT THE HOST Ariel is a Licensed Massage Therapist, Registered Clinical Hypnotherapist, Reiki Master, Empath and Psychic who has been involved in holistic healing since 1988. She is also an educator, speaker, author and mentor for empaths, spiritual seekers and medical professionals. To reach Ariel, go to www.arielhubbard.com, where you will be able to contact her directly. Please let her know you heard her on the podcast and the assistance you need or question you have. Website: www.arielhubbard.com Online Courses: http://hubbardeducationgroup.myclick4course.com Podcast: Woman Power Zone on all major platforms LinkedIn: @arielhubbard IG: @arielhubbard Facebook: @HubbardEducationGroup YT: @arielhubbard11 CH: @arielhubbard Pinterest: https://pin.it/6Z6RozS Pre-order form for Ariel's educational, hilarious and spicy dating book: The Empowered Woman's Guide to Online Dating: Set Your BS Tolerance to Zero https://eworder.replynow.ontraport.net/ See omnystudio.com/listener for privacy information.
Angelina Eimannsberger talks to Saronik about cultural phenomenon Jonathan Van Ness, and movements in queer femininity that they represent. They touch briefly on Edith Wharton's The House of Mirth, Jean Genet's Notre Dame des Fleurs, Audre Lorde's Sister Outsider, Janet Mock's Redefining Realness, and the hashtag #transisbeautiful inaugurated by Laverne Cox. They also talk about Michel Foucault's interview “Friendship as a Way of Life“. Angelina and Saronik had a post-recording conversation about the activistic work that JVN does. On that note, here is a list of organizations they support, and that you can support too: Planned Parenthood, RAINN, Phoenix House, The Trevor Project, National Coalition of Anti Violence Programs, Advocates for Youth, GLSEN, Peer Health Exchange, ASPCA. The image for this episode is a frame titled “Flowering Tree” by the fin de siècle English artist Aubrey Beardsley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Angelina Eimannsberger talks to Saronik about cultural phenomenon Jonathan Van Ness, and movements in queer femininity that they represent. They touch briefly on Edith Wharton's The House of Mirth, Jean Genet's Notre Dame des Fleurs, Audre Lorde's Sister Outsider, Janet Mock's Redefining Realness, and the hashtag #transisbeautiful inaugurated by Laverne Cox. They also talk about Michel Foucault's interview “Friendship as a Way of Life“. Angelina and Saronik had a post-recording conversation about the activistic work that JVN does. On that note, here is a list of organizations they support, and that you can support too: Planned Parenthood, RAINN, Phoenix House, The Trevor Project, National Coalition of Anti Violence Programs, Advocates for Youth, GLSEN, Peer Health Exchange, ASPCA. The image for this episode is a frame titled “Flowering Tree” by the fin de siècle English artist Aubrey Beardsley. Learn more about your ad choices. Visit megaphone.fm/adchoices
Angelina Eimannsberger talks to Saronik about cultural phenomenon Jonathan Van Ness, and movements in queer femininity that they represent. They touch briefly on Edith Wharton's The House of Mirth, Jean Genet's Notre Dame des Fleurs, Audre Lorde's Sister Outsider, Janet Mock's Redefining Realness, and the hashtag #transisbeautiful inaugurated by Laverne Cox. They also talk about Michel Foucault's interview “Friendship as a Way of Life“. Angelina and Saronik had a post-recording conversation about the activistic work that JVN does. On that note, here is a list of organizations they support, and that you can support too: Planned Parenthood, RAINN, Phoenix House, The Trevor Project, National Coalition of Anti Violence Programs, Advocates for Youth, GLSEN, Peer Health Exchange, ASPCA. The image for this episode is a frame titled “Flowering Tree” by the fin de siècle English artist Aubrey Beardsley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Angelina Eimannsberger talks to Saronik about cultural phenomenon Jonathan Van Ness, and movements in queer femininity that they represent. They touch briefly on Edith Wharton's The House of Mirth, Jean Genet's Notre Dame des Fleurs, Audre Lorde's Sister Outsider, Janet Mock's Redefining Realness, and the hashtag #transisbeautiful inaugurated by Laverne Cox. They also talk about Michel Foucault's interview “Friendship as a Way of Life“. Angelina and Saronik had a post-recording conversation about the activistic work that JVN does. On that note, here is a list of organizations they support, and that you can support too: Planned Parenthood, RAINN, Phoenix House, The Trevor Project, National Coalition of Anti Violence Programs, Advocates for Youth, GLSEN, Peer Health Exchange, ASPCA. The image for this episode is a frame titled “Flowering Tree” by the fin de siècle English artist Aubrey Beardsley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies
Angelina Eimannsberger talks to Saronik about cultural phenomenon Jonathan Van Ness, and movements in queer femininity that they represent. They touch briefly on Edith Wharton's The House of Mirth, Jean Genet's Notre Dame des Fleurs, Audre Lorde's Sister Outsider, Janet Mock's Redefining Realness, and the hashtag #transisbeautiful inaugurated by Laverne Cox. They also talk about Michel Foucault's interview “Friendship as a Way of Life“. Angelina and Saronik had a post-recording conversation about the activistic work that JVN does. On that note, here is a list of organizations they support, and that you can support too: Planned Parenthood, RAINN, Phoenix House, The Trevor Project, National Coalition of Anti Violence Programs, Advocates for Youth, GLSEN, Peer Health Exchange, ASPCA. The image for this episode is a frame titled “Flowering Tree” by the fin de siècle English artist Aubrey Beardsley. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture
A History of Lesbian Sex in Pornography The Lesbian Historic Motif Podcast - Episode 225 with Heather Rose Jones With apologies for the sound quality problems in the originally-posted version of this episode. Note: This episode has an accompanying slide show, which can be accessed through the YouTube version of the podcast. (See transcript link.) Please note that the video includes explicit sexual imagery. In this episode we talk about: A brief history of pornography/erotica as a social and legal category The varied and changing place of sex between women in pornography The rise of pornography as a socio-political force across the 18th and 19th centuries The intertwined history of pornography and sensational medical literature How pornography of the “decadent” era both objectified lesbian sex and opened doors to lesbian self-representation Images—all images are sincerely believed to be in the public domain, based on the evidence cited in Wikimedia, which is linked when available.1. From Jean-Charles de Latouche(?) Histoire de Dom Bougre, portier des Chartreux 1748 2. From I Modi (The modes), sonnet by Pietro Aretino art by Marcantonio Raimondi, mid-16th c 3. Marcantonio Raimondi Woman with a dildo mid-16th c 4. Johann Heinrich Tischbein Diana & Callisto 18th c 5. Pompeii - fresco in a bathhouse 6. Illustration of “sodomites” from a Bible Moralisée Vienna MS 2554 7. Jean Mignon Women bathing ca. 1535-1555 8. Nicholas Chorier L'Academie des Dames 1660 9. L'Ecole des filles (The School for Venus) 19th c. illustration 10. Jean Barrin Venus dans le Cloitre, ou La Religieuse en Chemise (Venus in the Convent) 1683 11. Delarivere Manley The New Atalantis 1714 12. Denis Diderot La Religieuse (The Nun) 1797 edition 13. Thérèse Philosophe (Therese the Philosopher) 1748 14. From Jean-Charles de Latouche(?) Histoire de Dom Bougre, portier des Chartreux 1748 15. Illustration from Giacomo Casanova A History of My Life by Jules-Adolphe Chauvet, late 19th c illustration for 18th c text 16. Marquis de Sade Juliette 1797 17. Illustration from Le paysan ét la paysane pervertis; ou Les dangérs de la ville (The Perverted Peasant-man and Peasant-woman; or the Dangers of the Town by Restif de La Bretonne 1787 18. Political attack pamphlet showing Queen Marie Antoinette in a lesbian embrace 19. Political attack pamphlet showing Queen Marie Antoinette in a lesbian embrace 20. Jean-Auguste-Dominique Ingres The Turkish Bath 1862 21. Les Deux Amies (The Two Girlfriends) by Jean-Jacques Lagrenée 22. Lesbian Games – anonymous lithograph ca. 1840 23. Illustration by Aubrey Beardsley for Théophile Gautier's Mademoiselle de Maupin, 1835 24. Nicolas Francois Octave Tassaert Le Femme Damnée (inspired by the poetry of Baudelaire) 1859 25. Cover for Adolphe Belot Mademoiselle Giraud ma Femme (Mlle. Giraud my Wife) 1870 26. George Barbier 1922 illustration for Pierre Louÿs The Songs of Bilitis 1894 27. Frontispiece for Catulle Mendès Lila and Colette 1885 28. Gustave Courbet Le Sommeil (the sleepers) 1866 This topic is discussed in one or more entries of the Lesbian Historic Motif Project here: Sex between women A transcript of this podcast is available here. Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Twitter: @heatherosejones Facebook: Heather Rose Jones (author page)
A History of Lesbian Sex in Pornography The Lesbian Historic Motif Podcast - Episode 225 with Heather Rose Jones Note: This episode has an accompanying slide show, which can be accessed through the YouTube version of the podcast. (See transcript link.) Please note that the video includes explicit sexual imagery. In this episode we talk about: A brief history of pornography/erotica as a social and legal category The varied and changing place of sex between women in pornography The rise of pornography as a socio-political force across the 18th and 19th centuries The intertwined history of pornography and sensational medical literature How pornography of the “decadent” era both objectified lesbian sex and opened doors to lesbian self-representation Images—all images are sincerely believed to be in the public domain, based on the evidence cited in Wikimedia, which is linked when available.1. From Jean-Charles de Latouche(?) Histoire de Dom Bougre, portier des Chartreux 1748 2. From I Modi (The modes), sonnet by Pietro Aretino art by Marcantonio Raimondi, mid-16th c 3. Marcantonio Raimondi Woman with a dildo mid-16th c 4. Johann Heinrich Tischbein Diana & Callisto 18th c 5. Pompeii - fresco in a bathhouse 6. Illustration of “sodomites” from a Bible Moralisée Vienna MS 2554 7. Jean Mignon Women bathing ca. 1535-1555 8. Nicholas Chorier L'Academie des Dames 1660 9. L'Ecole des filles (The School for Venus) 19th c. illustration 10. Jean Barrin Venus dans le Cloitre, ou La Religieuse en Chemise (Venus in the Convent) 1683 11. Delarivere Manley The New Atalantis 1714 12. Denis Diderot La Religieuse (The Nun) 1797 edition 13. Thérèse Philosophe (Therese the Philosopher) 1748 14. From Jean-Charles de Latouche(?) Histoire de Dom Bougre, portier des Chartreux 1748 15. Illustration from Giacomo Casanova A History of My Life by Jules-Adolphe Chauvet, late 19th c illustration for 18th c text 16. Marquis de Sade Juliette 1797 17. Illustration from Le paysan ét la paysane pervertis; ou Les dangérs de la ville (The Perverted Peasant-man and Peasant-woman; or the Dangers of the Town by Restif de La Bretonne 1787 18. Political attack pamphlet showing Queen Marie Antoinette in a lesbian embrace 19. Political attack pamphlet showing Queen Marie Antoinette in a lesbian embrace 20. Jean-Auguste-Dominique Ingres The Turkish Bath 1862 21. Les Deux Amies (The Two Girlfriends) by Jean-Jacques Lagrenée 22. Lesbian Games – anonymous lithograph ca. 1840 23. Illustration by Aubrey Beardsley for Théophile Gautier's Mademoiselle de Maupin, 1835 24. Nicolas Francois Octave Tassaert Le Femme Damnée (inspired by the poetry of Baudelaire) 1859 25. Cover for Adolphe Belot Mademoiselle Giraud ma Femme (Mlle. Giraud my Wife) 1870 26. George Barbier 1922 illustration for Pierre Louÿs The Songs of Bilitis 1894 27. Frontispiece for Catulle Mendès Lila and Colette 1885 28. Gustave Courbet Le Sommeil (the sleepers) 1866 This topic is discussed in one or more entries of the Lesbian Historic Motif Project here: Sex between women A transcript of this podcast is available here. Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Twitter: @heatherosejones Facebook: Heather Rose Jones (author page)
Join us this week to meet a man who wanted nothing more than to be famous. Aubrey Beardsley was a truly modern artist, a man who curated his persona and artistic output to create the most drama possible in pursuit of his goal to be more notorious than any one else in 1890s Britain (Oscar Wilde included)With a bold style and liberal use of nipples and penises he quickly rocketed to the top of the London artistic scene... Unfortunately the only way to go from the top is down.Guest Host: Emma Heathcote See acast.com/privacy for privacy and opt-out information.
Rebecca Solnit recently posted this essay that Mary Beard wrote back in 2014. It's about women speaking in public and the ways classical culture was built around telling women to shut up. Also about how that trend has continued. It's brilliant for all the reasons Mary Beard is often brilliant but the thing that feels like new information for me is the bit about women generally only being allowed to have a voice on matters that pertain to women. The one exception to the impulse to silence women is when they speak of things that are in their lane. Women are (sometimes) permitted to talk about women's rights but not about the war. To keep reading The Women's Lane visit the Songs for the Struggling Artist blog. This is Episode 292 Song: Man! I Feel Like a Woman Image by Aubrey Beardsley for Oscar Wilde's Salome via Old Book Illustrations To support this podcast: Give it 5 stars in Apple Podcasts. Write a nice review! Rate it wherever you listen or via: https://ratethispodcast.com/strugglingartist Join my mailing list: www.emilyrainbowdavis.com/ Like the blog/show on Facebook: https://www.facebook.com/SongsfortheStrugglingArtist/ Support me on Patreon: www.patreon.com/emilyrdavis Or buy me a coffee on Kofi: http://ko-fi.com/emilyrainbowdavis or PayPal me: https://www.paypal.me/strugglingartist Follow me on Twitter @erainbowd Instagram and Pinterest Tell a friend! Listen to The Dragoning here (it's my audio drama) and support via Ko-fi here: https://ko-fi.com/messengertheatrecompany As ever, I am yours, Emily Rainbow Davis
TALK ART LIVE in London!!! Join the inimitable hosts of Talk Art, Robert Diament and Russell Tovey for a live podcast recording as they interview Kate Bryan.Kate Bryan is Global Head of Collections at Soho House and author of a new book about artists that died too young, 'Bright Stars'. Recorded at Soho House White City in front of a sold out live audience, they cover big names such as Vincent Van Gogh, Jean Michel Basquiat and shine a light on lesser known talents like Khadija Saye, Paula Modersohn Becker and Amrita Sher Gil.In 'Bright Stars', Kate Bryan examines the lives and legacies of 30 great artists who died too young, celebrating their inspirational stories and extraordinary talent. Some of the world's greatest and most-loved artists died under the age of forty. But how did they turn relatively short careers into such long legacies? What drove them to create, against all the odds? And how can we use these stories to re-evaluate artists lost to the shadows, or whose legacies are not yet secured? Most artists have decades to hone their craft, win over the critics and forge their reputation, but that's not the case for the artists in this book. Art heavyweights Vincent van Gogh and Jean-Michel Basquiat have been mythologised, with their early deaths playing a key role in their posthumous fame. Others, such as Aubrey Beardsley and Noah Davis, were driven to create, knowing their time was limited. For some, premature death, compounded by gender and racial injustice, meant being left out of the history books – as was the case with Amrita Sher-Gil, Charlotte Salomon and Pauline Boty, now championed by Kate Bryan in this important re-appraisal. And, as Caravaggio and Vermeer's stories show us, it can take centuries for forgotten artists to be given the recognition they truly deserve. With each artist comes a unique and often surprising story about how lives full of talent and tragedy were turned into brilliant legacies that still influence and inspire us today. This is a celebration of talent so great it shines on. Beautifully illustrated by Anna Higgie with portraits of the artists, as well as reproductions of some of their most famous works, this important and timely work makes a crucial contribution to our understanding of the lives of some of the most talented artists throughout history.Kate Bryan is an arts broadcaster, curator, mentor and writer. She is Head of Collections for Soho House & Co. globally and has written and presented television programmes for Sky Arts, Sky Arte Italia, BBC Two and BBC Four. She is a judge on the annual Sky Arts competition programmes Portrait Artist of the Year and Landscape Artist of the Year, and the author of The Art of Love (White Lion Publishing, 2019).Follow @KateBryan_Art on Instagram and visit her official website at https://katebryanart.com/ Buy Kate's new book 'Bright Stars' from this link, OUT NOW! Buy 'Talk Art Book' from this link, also OUT NOW!For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For... See acast.com/privacy for privacy and opt-out information.
Melvyn Bragg and guests discuss the British phase of a movement that spread across Europe in the mid-19th and early 20th centuries. Influenced by Charles Baudelaire and by Walter Pater, these Decadents rejected the mainstream Victorian view that art needed a moral purpose, and valued instead the intense sensations art provoked, celebrating art for art's sake. Oscar Wilde was at its heart, Aubrey Beardsley adorned it with his illustrations and they, with others, provoked moral panic with their supposed degeneracy. After burning brightly, the movement was soon lost its energy in Britain yet it has proved influential. The illustration above, by Beardsley, is from the cover of the first edition of The Yellow Book in April 1894 With Neil Sammells Professor of English and Irish Literature and Deputy Vice Chancellor at Bath Spa University Kate Hext Senior Lecturer in English Literature at the University of Exeter And Alex Murray Senior Lecturer in English at Queen's University, Belfast Producer: Simon Tillotson
Melvyn Bragg and guests discuss the British phase of a movement that spread across Europe in the mid-19th and early 20th centuries. Influenced by Charles Baudelaire and by Walter Pater, these Decadents rejected the mainstream Victorian view that art needed a moral purpose, and valued instead the intense sensations art provoked, celebrating art for art's sake. Oscar Wilde was at its heart, Aubrey Beardsley adorned it with his illustrations and they, with others, provoked moral panic with their supposed degeneracy. After burning brightly, the movement was soon lost its energy in Britain yet it has proved influential. The illustration above, by Beardsley, is from the cover of the first edition of The Yellow Book in April 1894 With Neil Sammells Professor of English and Irish Literature and Deputy Vice Chancellor at Bath Spa University Kate Hext Senior Lecturer in English Literature at the University of Exeter And Alex Murray Senior Lecturer in English at Queen's University, Belfast Producer: Simon Tillotson
Known for its bad food and its worse atmosphere, the Hotel d'Italie is far from the most famous of Victorian restaurants. But in 1894 it was host to one of the most exciting literary dinners of the century - the launch party for the scandalous and decadent Yellow Book. With everyone from Aubrey Beardsley to W. B. Yeats, it was a night to remember! Listen to find out more ...
Mark Samuels Lasner is a Senior Research Fellow at the University of Delaware Library, and one of the world's great book collectors. The Mark Samuels Lasner Collection focuses on British literature and art from 1850 to 1900, with an emphasis on the Pre-Raphaelites and writers and illustrators of the 1890s. It comprises more than 9,500 books, letters, manuscripts, photographs, ephemera, and artworks, including many items signed by such figures as Oscar Wilde, George Eliot, Max Beerbohm, William Morris, Christina and Dante Gabriel Rossetti, Robert and Elizabeth Barrett Browning, and Aubrey Beardsley. In 2016 Mark donated his collection, worth more than $10 million, to the University of Delaware. It's the largest and most valuable gift in the Library's history. We connected via Zoom to talk about Mark's childhood and his incipient interest in England and the late Victorian period, his early book collecting - the how and why of it - the extraordinarily talented and well dressed essayist, caricaturist, and critic Max Beerbohm; fun, friendships, favourite booksellers, fashion and much more.
In deze aflevering Salomé en Johannes de Doper. Als iemand zegt: “Wat je ook vraagt, ik zal het je geven, al was het de helft van mijn koninkrijk!”, wat vraag je dan? Macht, geld, roem? Of vraag je dan het hoofd van een profeet? We hebben het over schilderijen van Gustave Moreau en Aubrey Beardsley en muziek van Richard Strauss en Terry Riley. Kijk op www.eo.nl/scheppingsdrift voor een overzicht van alle kunst die we bespreken, plus nog meer kunst bij het verhaal van Salomé.
Brigid Brophy (1929-95) was a fearlessly original novelist, essayist, critic and political campaigner, championing gay marriage, pacifism, vegetarianism and prison reform. Her many acclaimed novels include Hackenfeller’s Ape, The King of a Rainy Country, Flesh, The Finishing Touch, In Transit, and The Snow Ball – which Faber reissued at the end of last year – as well as critical studies of Mozart, Aubrey Beardsley and Ronald Firbank, among other subjects. She also wrote about Mozart for the LRB, and contributed 19 other unforgettable pieces in the paper’s first years, on subjects ranging from Michelangelo to Germaine Greer, animal cruelty to structuralism.Eley Williams, who wrote the foreword for the new edition of The Snow Ball, is in conversation with Terry Castle and Bidisha about Brophy the essayist and novelist, Brophy then and now. See acast.com/privacy for privacy and opt-out information.
Long ago, a demon fell in love with a woman and conjured up a bed on which to make love to her. The woman died during the act, and, in his grief, the demon wept tears of blood which fell on the bed and caused it to come to life. While the demon rests, the bed's evil is contained, but once every ten years, the demon wakes, giving the bed the power to physically eat human beings. Only one man, an artist identified as Aubrey Beardsley, was spared, as the bed condemned him to immortality behind a painting, where he must forever witness the bed taking victims. The bed passed from owner to owner until the present day. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Episode: 2809 Laurence Housman designs an edition of Christina Rossetti's poem Goblin Market. Today, Goblins, sisterly love, and a masterpiece of book design.
“Aubrey Beardsley (1872-1898)” au Musée d'Orsay, Parisdu 13 octobre 2020 au 10 janvier 2021Extrait du communiqué de presse :Commissaires : Stephen Calloway, spécialiste de Beardsley Caroline Corbeau-Parsons, Curator, British Art 1850-1915 at Tate Britain Elise Dubreuil, conservatrice arts décoratifs au musée d'Orsay Leïla Jarbouai, conservatrice arts graphiques au musée d'OrsayLa carrière d'Aubrey Beardsley fut intense et prolifique, en dépit de la disparition prématurée du jeune artiste à l'âge de vingt-cinq ans. En partenariat avec la Tate Britain, à Londres, le musée d'Orsay montrera pour la première fois en France une rétrospective de son oeuvre dans son ensemble, première monographie de l'artiste en Europe depuis l'exposition du Victoria & Albert museum de Londres en 1966.Les dessins vifs et virtuoses de cette figure originale de la scène londonienne fin-de-siècle mettent en scène un univers étrange, érotique et anticonformiste. Le style très personnel de Beardsley, aisément reconnaissable, allié à la large diffusion de ses oeuvres par la reproduction mécanisée, firent de lui un phénomène, à tel point que le critique Max Beerbohm qualifia les années 1890 à Londres de « Beardsley period ». Son succès s'est construit grâce aux nouvelles techniques de reproduction de l'image, ses dessins exclusivement en noir et blanc, à la ligne précise et nerveuse, étant reproduits suivant une méthode qui permit leur diffusion imprimée à moindre coût et de manière fidèle. Lecteur vorace, puisant aux sources les plus éclectiques, Beardsley a construit un univers graphique d'une grande variété, où se tissent des liens avec la tradition anglaise, l'art des vases grecs, l'art japonais, l'art nouveau, le décandentisme et le symbolisme, les estampes du XVIIIe siècle français…L'exposition déroulera un plan globalement chronologique, débutant, après une présentation de l'artiste, par les premières réalisations publiées en 1891, jusqu'à ses dernières oeuvres de 1898. Après un espace consacré à la figure de l'artiste dandy qui a méticuleusement construit son image, seront présentés ses premiers travaux, influencés par les Préraphaélites, ainsi que sa première commande importante pour l'illustration de La Morte Darthur pour l'éditeur J. M. Dent qui lui valut la reconnaissance comme « illustrateur d'un nouveau genre ». Une place sera faite à son travail pour des revues comme The Studio ou Pall Mall Magazine et les recueils comme Les Bons-Mots, dont les dessins reflètent à la fois l'influence du japonisme et la constitution d'un univers poétique et satirique très personnel. En 1893, Beardsley travaille aux dessins destinés à illustrer l'édition anglaise de Salome d'Oscar Wilde (initialement publié en français), publié par John Lane en 1894. Ces dessins, totalement anti-conventionnels, qui figurent parmi les plus célèbres de Beardsley, seront présents par l'exposition du portfolio édité en 1907, ainsi que par quelques prêts exceptionnels de dessins originaux. La majorité des originaux, appartenant à la collection Winthrop du Fogg Art Museum, n'est en effet pas prêtable.Après le succès de scandale de Salome Beardsley devient le directeur artistique de la revue The Yellow Book, dont il réalise les couvertures des premiers numéros et où il renverse la traditionnelle hiérarchie entre texte et image.Suite au procès et à la condamnation d'Oscar Wilde pour homosexualité, Beardsley dont le nom lui était associé depuis le succès sulfureux de Salome, s'exile à Dieppe, en Normandie. Il y retrouve l'éditeur Léonard Smithers et le poète Arthur Symons. Le dix-huitième siècle français, notamment par le biais de ses gravures libertines, occupe une place de plus en plus importante dans son oeuvre, à travers ses dessins saturés de détails pour la revue The Savoy, ses illustrations de The Rape of the Lock (La Boucle de cheveux enlevée) d'Alexander Pope qu'il qualifie de « broderies », et son interprétation graphique de Mademoiselle de Maupin de Théophile Gautier.L'exposition se terminera par une évocation des dernières commandes importantes faites à Beardsley, notamment la série Lysistrata, d'après la comédie paillarde d'Aristophane, montrée quasiment in extenso. L'artiste s'inspire de l'univers burlesque et satirique du dramaturge grec pour mettre en scène le théâtre de la révolte des femmes et de l'inversion des genres.S'il est prévu d'exposer en grande majorité les dessins originaux de Beardsley (une centaine), on accordera une attention particulière à présenter quelques exemples des éditions originales de ces oeuvres, afin de montrer les conditions de la diffusion de l'oeuvre de l'artiste. Dans cette optique sera également présentée une sélection d'affiches. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.
Today Katy tells Dan about illustrator Aubrey Vincent Beardsley (1872 – 1898). Tune in every week to hear Katy and Dan talk about people from history you may or may not have heard of. You can follow them on Twitter here: https://twitter.com/HaveYouEverPod and on Instagram @haveyoueverpod. Please do subscribe, wherever you're listening to this.
In this podcast we look at the life of the Victorian Dandy Artist Aubrey Beardsley (1872 – 1898) . Controversial... The post Aubrey Beardsley Ep 59 appeared first on .
We discuss Nazimova's "Salome", astonishing even today, with design by Natacha Rambova influenced by Aubrey Beardsley's illustrations of Oscar Wilde's play, then consider the possible influence of the silent film on Ken Russell's representation of Salome. Along the way we also discuss Russell's "The Debussy Film", how his choice of music for "Salome's Last Dance" refers back to "The Debussy Film", and why he might have chosen "In the Hall of the Mountain King" from "Peer Gynt" for Salome's dance music. Though I mention that Nazimova was famed for her performances in Ibsen plays, i got a little too carried away with talking about Peer Gynt and trolls and neglected, during the podcast, to remind how Grieg's "Peer Gynt" had been inspired by Ibsen's play. While Nazimova concentrates on interpreting Wilde, Russell films (and photographs) Wilde observing a production of his play, so that we must consider Oscar Wilde's relationship to it--and his trial and imprisonment. One could spend days discussing these films and still not do them justice, and i really looked forward to doing the podcast on them. Then we got silly, and though we dug we didn't go as deep as I would have liked. Hopefully, we still inspire the listener to seek out these two films and view them. Look for "Talk Cinephilia to Me" on FB for supplemental materials. We're on Twitter and Instagram as well.
We are back with some good news to round off your week.Brewdog are giving free beers at the end of lockdown. You can sign up here: https://brewdog.typeform.com/to/gjyOYqPeanut butter has become a hack in at-home dog grooming.The Tate Modern have released a video tour of their Aubrey Beardsley exhibition, to be enjoyed from the comfort of your own sofa https://www.tate.org.uk/whats-on/tate-britain/exhibition/aubrey-beardsleyPenguins Edward and Annie have been on a date at Shedd Aquarium in Chicago https://www.youtube.com/watch?v=_w2eDhC1bD0Scientists of the Florida Aquarium have made a breakthrough in coral conservation, with the first reproduction of cactus coral in human care. https://www.goodnewsnetwork.org/historic-discovery-that-will-help-save-florida-reef-tract/Anthony O’Shaughnessy has been making dinner for his elderly neighbour. Find him on twitter www.twitteer.com/@anthonyshockFind us on social media @canwejustask to share your stories and positive news with us. And please rate, review and share the podcast with your friends. See acast.com/privacy for privacy and opt-out information.
Russell and Robert chat to Maria Balshaw CBE, Director of Tate, a family of four art galleries in London, Liverpool and Cornwall known as Tate Modern, Tate Britain, Tate Liverpool and Tate St Ives. Balshaw is Tate’s first female Director.We discuss the effect of the lockdown on Tate museums, filming guided tours for their website of the on-hold blockbuster Andy Warhol and Aubrey Beardsley exhibitions for the public to access during lockdown, the increased global usage of their website during the pandemic in particular as a resource for children's art education, her passion for gardening, the lasting influence of Derek Jarman (and his music videos for Pet Shop Boys), the great news that Jarman’s house ‘Prospect Cottage’ has been saved for the nation by Artfund’s campaign and some inspiring lessons learned from collaborating with artist Marina Abramović.We learn of Maria's admiration for Steve McQueen's artwork and his recent epic portrait of London’s Year 3 school pupils (exhibited at Tate Britain), her love of Cornelia Parker's installation 'Cold Dark Matter' (which she first saw at Chisenhale gallery in 1991) and her longterm commitment to redressing the imbalance of representation for women artists, artists of colour and queer artists in museum collections and exhibition programmes. Recently a number of watercolours by Emmeline Pankhurst’s daughter Sylvia Pankhurst, best remembered as an activist/campaigner for the UK Suffragette movement, became part of Tate Collection. Finally we reminisce about Anne Imhof's now legendary live performance series at Tate's Tanks in 2019.We explore her years working as Director of the Whitworth, University of Manchester and Manchester City Galleries, when she oversaw the £17 million transformation of the Whitworth, which was subsequently awarded the Art Fund Museum of the Year award for 2015. She was also Director of Culture for Manchester City Council from 2013-2017, played a leading role in establishing the city as a leading cultural centre for the UK. She is currently a Board Member of Arts Council England, the Clore Leadership Programme and Manchester International Festival. Maria was awarded a CBE in the Queen’s Birthday Honours for services to the arts in June 2015.Follow @MariaBalshaw on Instagram & @MBalshaw Twitter and @Tate on all social media platforms. Tate's website is: www.tate.org.uk For images of artworks discussed in this week's episode please visit @TalkArt and we are now on Twitter too @TalkArtPodcast. Thanks for listening! See acast.com/privacy for privacy and opt-out information.
*Episode 13 was recorded in March before the UK-wide lockdown began. We've been battling with disruptions caused by the Coronavirus and therefore the release of this episode was delayed.*Whilst stuck at home, and hopefully staying safe, we offer a glimpse at exhibitions of the pre-lockdown era including: the early works of Alan Davie and David Hockney at the Towner Gallery, a slightly-problematic experience of Cao Fei at the Serpentine Galleries, and Aubrey Beardsley at the Tate Britain.New developments at the US Supreme Court mean that the restitution of art looted by the Nazis during the Holocaust is back in the news again. In particular we discuss the appeal over the ownership of Picasso's The Actor, which is currently hanging at the Metropolitan Museum of Art in New York. And we've gone back in history further than we've ever gone before for our Artist Focus, as we discuss the life and work of Italian Baroque painter Artemisia Gentileschi. Unknown to many, the 17th century painter will be the subject of her own eponymous solo exhibition at the National Gallery in London later this year. As the world wakes up to her legacy, we celebrate her unique contribution to women artists, and her incredibly dramatic life. SHOW NOTES: Alan Davie and David Hockney: Early Works until 31 May 2020 at the Towner Gallery: https://www.townereastbourne.org.uk/exhibition/alan-davie-and-david-hockney-early-works/ BRINK: Caroline Lucas curates the Towner Collection until 10 May 2020: https://www.townereastbourne.org.uk/exhibition/caroline-lucas-curates-the-towner-collection/Cao Fei 'Blueprints' until 17 May 2020 at the Serpentine Galleries: https://www.serpentinegalleries.org/exhibitions-events/cao-feiAubrey Beardsley, until 25 May 2020 at the Tate Britain: https://www.tate.org.uk/whats-on/tate-britain/exhibition/aubrey-beardsleyThe US Supreme Court's silence on Nazi art theft fails Holocaust survivors: https://www.theartnewspaper.com/comment/the-us-supreme-court-s-silence-on-nazi-art-theft-fails-holocaust-survivors We also refer to the 2015 movie 'The Woman in Gold' starring Helen Mirren. Get to know the Baroque painter, Artemisia Gentileschi: https://www.thegallyry.com/post/rachael-siddall-on-artemisia-gentileschi Artemisia Gentileschi at the National Gallery: https://www.nationalgallery.org.uk/exhibitions/artemisia
For the second episode of Talk Art's QuarARTine series, Russell and Robert chat with legendary singer/songwriter Rufus Wainwright from his home in Los Angeles.We discuss his iconic song ‘The Art Teacher’, his love of Whistler and John Singer Sargent’s paintings, his childhood passion for making zines and his baroque alter ego Bella von Herzgold. We hear about the time Rufus met legendary artist Erté in late 1980s New York, the influence of Aubrey Beardsley, Mucha's posters and Art Nouveau. We explore the realist paintings of Andrew Wyeth, his husband Jorn’s love of art and friendships with curator Klaus Biesenbach & artist Marina Abramović, visiting the Venice Biennale, and living with artworks by Timothy Cummings, Jonathan Meese, Clementine Hunter, Robert Wilson and even an iconic Andy Warhol polaroid of Grace Jones! We explore the psychology behind composing & developing characters for his recent opera’s 'Prima Donna' and 'Hadrian' and he reminisces about a travelling exhibition of art from the Russian Hermitage museum that made a big impact in his youth and New York afternoons hanging out with performance icons Penny Arcade, Jack Smith and Quentin Crisp. Follow @RufusWainwright and be sure to watch Rufus' daily 'Quarantunes/Robe Recitals' live performances streaming free via his Instagram. Pre-order Rufus' new album 'Unfollow The Rules' out from 10th July 2020. Lead single 'Damsel in Distress' is available now with a stunning animated video created from Rufus' own drawings!! www.RufusWainwright.com For images of all artworks discussed in this episode, visit us @TalkArt on IG or @TalkArtPodcast on Twitter. Thanks for listening! See acast.com/privacy for privacy and opt-out information.
Robert & Russell meet Mark Gatiss, the influential British actor, screenwriter, director and novelist. We discuss Mark's recent BBC4 art documentary 'John Minton: The Lost Man of British Art', celebrating the life and work of the highly prolific and successful 20th century English artist whose work is now all but forgotten. A contemporary of Francis Bacon and Lucian Freud, Minton suffered psychological problems, self-medicated with alcohol, and in 1957 died by suicide. We chat in depth about Mark's forthcoming documentary on the life of illustrator Aubrey Beardsley, a peer of Oscar Wilde, whose black ink drawings revealed the grotesque, the decadent, and the erotic. We explore Mark's own passion for drawing and painting portraits, the psychology behind The League of Gentlemen, his admiration for Alan Bennett, and how he came to write the series of 8 monologues ‘Queers’ in response to the 50th anniversary of the Sexual Offences Act. This episode was recorded in early January 2020.Follow @TalkArt on Instagram for images of all artworks discussed in this episode! Follow @MarkGatiss on Twitter, and check out @TalkArtPodcast, our new Twitter.Thanks for listening to Season 4! We will be back NEXT WEEK with the all new Season 5 'Talk Art: QuarARTine' series, recorded remotely from the global lockdown. See acast.com/privacy for privacy and opt-out information.
We think of our era as the age of celebrity. Billions of people follow the daily antics of the Kardashian family or the latest pop superstar. But celebrity obsession is centuries old, argues Horrible Histories writer Greg Jenner. He tells Tom Sutcliffe why we are captivated by famous - and infamous - figures, from the scandalous Lord Byron to the unwitting civilians who are hounded by paparazzi today. The Italian Renaissance gave us the world's most famous images: the Mona Lisa, Botticelli's Venus and Michelangelo's David. But Catherine Fletcher argues that this era was far stranger, darker and more violent than we may realise. The real Mona Lisa was married to a slave-trader, and Leonardo da Vinci was revered for his weapon designs. The artist Aubrey Beardsley shocked and delighted Victorian London with his drawings. A new exhibition at the Tate Britain, curated by Caroline Corbeau-Parsons, shows the range of Beardsley's black-and-white images. Some are magical, humorous, some sexual and grotesque; and together they helped Beardsley become so astonishingly famous that the 1890s were dubbed the 'Beardsley era', before he fell from grace, tainted by association with Oscar Wilde. Producer: Hannah Sander
The Mash Report’s Rachel Parris discusses why her private life rather than politics has inspired her new stand up show, All Change Please. As the Greater Manchester Combined Authority announces increased funding for arts venues across its ten boroughs, we talk to Mayor of Greater Manchester and former Culture Secretary Andy Burnham about the effect Local Government funding cuts have had on councils’ cultural activities. Actor and writer Mark Gatiss discusses his lifelong fascination with the artist Aubrey Beardsley, who died of tuberculosis in 1898 at the age of just 25. Gatiss has made a BBC4 film about Beardsley, famous for his distinctive black and white drawings, which coincides with an extensive new exhibition at Tate Britain of the artist’s work. Presenter: John Wilson Producer: Sarah Johnson
Little Podcast of Horror: Season Six commences on the year’s biggest day for fancy dress: Halloween! Always looking to raise the costume stakes, Lucy and Ben consider costume inspiration from some unlikely sources, including the Pre-Raphaelites, Audrey Beardsley and an eighties footwear commercial that Lucy has still not got over. The episode is brought to you in conjunction with Penhaligon’s (@penhaligons_london) and their seasonally-appropriate Elixir candle, which will assuredly fill any space with the magic, wonder and whimsy of Autumn and All Hallows Eve. As ever, for accompanying episode images see our Instagram feed at @dressfancypodcast. If you enjoy listening to Dress: Fancy, you’ll probably know somebody else who would, too, so please spread the word. While you’re at, leave a review on Apple iTunes, and provide a suggestion for a fancy dress theme you’d like us to cover in a future show. Show notes Dress: Fancy Instagram: @dressfancypodcast Penhaligon’s Instagram: @penhaligons_london Penhaligon’s Elixir Candle: https://www.penhaligons.com/elixir-classic-candle/ Lucy Clayton: @mslucyclayton Benjamin Wild: @DrBenjaminWild Pumpkin House Thursford Instagram: @pumpkinhousethursford The Magic Steps commercial: https://www.youtube.com/watch?v=qhqpX6enBL0 Kit's costume inspiration: https://www.showstudio.com/projects/nick-knight-x-v-magazine/editorial-gallery-nick-knight-x-v-magazine. Aubrey Beardsley peacock skirt: https://collections.vam.ac.uk/item/O140256/the-peacock-skirt-print-beardsley-aubrey-vincent/ Isabella and the pot of Basil: https://en.wikipedia.org/wiki/Isabella_and_the_Pot_of_Basil
Episode 7 of the Museum of Femininity explores the subject of the Femme Fatale; dark, mysterious, sexually alluring and dangerously manipulative. We examine the proto femme fatale seen in Greek Mythology and Biblical text from Medusa to Salome, delve into evolving artistic interpretations and the male gaze fuelled social construct of this feminine archetype and ponder on the role of women in 1930's and 40's Film Noir. As well as this we look at the inspiration behind many fictional Femme Fatale's by telling the story of Ruth Snyder who murdered her husband in 1928 and was one of the first women to be executed in the electric chair. We hope you enjoy our conversation! All reference material and images can be found on our social media accountsTwitter @Museum_of_FemInstagram @themuseumoffemininity
Too horrific that Steven couldn’t even finish reading it! We talk about Maruo’s work that would eventually become adapted into a controversial anime. Listen until the end for a chance to win a copy of next week's manga... 026: Mr. Arashi's Amazing Freakshow | Shoujo Tsubaki (1984) By Suehiro Maruo Translation by Yoko Umezawa and Laura Lindgren (Blast Books 1992) Some context: Maruo is known for his ‘Ero-Guro’ (erotic grotesque nonsense). The genre is nothing new, it’s heavily inspired by shungo prints, a prime example being Hokusai’s ‘Dream of the fisherman’s wife’. In turn the UK artist Aubrey Beardsley who illustrated Oscar wilde’s Salome during the Victorian era. H.R. Giger is a massive influence on ‘ero-guro’, his iconic Alien being an interplay between sex and violence as a film series. Topics: · James’ interpretation of events and ending: 1. Magician loves Midori by creating respite from the horror through his illusions. He gives her the opportunity to leave to Tokyo by faking his death. But because Midori makes the choice not to leave without him, this causes the magician to punish her in hopes of scaring her off. She isn’t physically able to kill them so she finds herself alone in the world. To escape one horror, she has to endure the horror of another, the horror of loneliness. 2. Magician, like the rest of the freaks despises Midori for her beauty and innocence and chooses to torment her. 3. Magician is but a figment of Midori’s imagination. Midori is actually a contortionist whose act is to fit inside a glass jar. When an insect crawls inside her ear it begins to munch on her brain causing her to hallucinate and make her fantasies more real to her. Where ever Masamitsu is real or not is besides the point. · Is the author, Suehiro Maruo, being obscene and deplorable by creating this manga? And are people who enjoy this story contemptable? · Steven’s objection at Maruo’s take on child abuse and the threat of paedophilia in stories. · “Comfort Women”; Maruo’s imagery is evocative of the great depression and post - world war japan and the very real horrors of that era. The main character, Midori, could be viewed as a “comfort woman”, the name given to victims of World War II sex trafficking. For more on the subject just follow the link [Here]. · Film adaptation by Hiroshi Harada was released in 1992 · A 2016 live-action film adaptation was notably tame compared to the source material but otherwise contained beautiful production design. To tie-in with the release of the 2016 film, café ‘Holy’ in Shibuya made a menu in order to promote it. Culture Reference: Oculolinctus, also known as Gankyū namé purei “eyeball licking play” an ero-guro trope that Suehiro made popular. A widespread myth came about when reports of Japanese students were adopting this as a craze. Instagram – weappreciatemanga.co.uk Twitter - @RealJamesFitton Website – Weappreciatemanga.com Email – Weappreciatemanga@gmail.com
In NYC for the Brooklyn Book Festival, author/artist Audrey Niffenegger joins the show to talk about her work and life. We get into her new collaboration, Bizarre Romance (Abrams), being Parent Trapped (maybe) by Hayley Campbell, her interest in taxidermy and what it does and doesn't signify, how she shifts from prose to comics and vice versa, the allure of Chicago, getting consent to convert people into characters, writing the sequel to her best-known work, The Time Traveler's Wife, how that book's success changed her approach to art, getting turned on to print-making as a teen by a book on Aubrey Beardsley, the books she's still hoping to get around to reading, how art school taught her to see, and plenty more! • More info at our site • Support The Virtual Memories Show via Patreon or Paypal
Marking 120 years since Beardsley’s death, The Eve of St Aubrey: Re†Collecting Beardsley (1872-1898) symposium brought together established and emerging scholars of the artist to examine his works, his public image, and his new – global – place in the art canon. The interdisciplinary symposium unlocked the geographical and chronological boundaries of the ‘Beardsley Period’ by reassessing the artist’s international reception and the impact of his aesthetics on modern movements in art, literature, ballet, cinema, and fashion.
Circe Link & Christian Nesmith discuss "Bird's Amazing Odyssey & The Meaning of Tea."
Aubrey Beardsley, John Bauer, Virginia Frances... son algunos de nuestros admirados ilustradores y, precisamente este es el tema central de nuestro programa de hoy. Nos visitan Aitana Carrasco, ilustradora, y Jaume Pallardó, miembro del grupo musical Ratolines e ilustrador.
Den brittiske illustratören Aubrey Beardsleys (1872-1898) sätt att betrakta och beskriva omvärlden gjorde honom både hyllad och hatad - men framför allt omskriven. Han blev en av det förra sekelskiftets största kändisar, med en stil och ett rykte inte helt olikt en självförbrännande rockstjärnas. Han blev bara tjugofem år. Aubrey Beardsley festade förvisso och beskrevs som spöklikt mager, men anledning till hans död hette tuberkulos, en då obotlig sjukdom. Men under sitt korta liv och karriär gjorde han intryck, som gett avtryck ända in i vår tid. Han förekommer på affischer, skivomslag och i modevärlden - där hans ande svävar bland samtida illustratörer, på olika vis. Snyggt klädd var han också. I veckans STIL berättar vi mer om denne märklige man. Aubrey Beardsleys stilrena garderob var influerad av den franske poeten Charles Baudelaires tankar och texter om ”dandyism”. Genom att klä sig medvetet nedtonat, men mycket omsorgsfullt, kunde man genom sin stil markera att man tillhörde, eller ville tillhöra, en ny typ av intellektuell elit, menade Baudelaire (som själv alltid bar helsvart). Och intellektuell var Aubrey Beardsley, utan tvekan. Han slukade böcker och sög i sig kunskap som en svamp. Även böcker om medicin där han studerade illustrationerna på aborterade foster och exempel på hur olika sjukdomar kunde vanställa kroppar. Det fick han nytta av som illustratör. Men han hade även koll på modetidningar och visste vad han tyckte om dåtidens överlastade dammode – löjligt. Kvinnorna i hans illustrationer bär ofta långt mer bekväma känningar. Under andra halvan av 1960-talet ställde Victoria & Albert Museum i London ut hans bilder – som passade tidens trender. Hans bilder med erotiska och ”dekadenta” inslag snappades snabbt upp olika rockband. Beatles omslag till Revolver är inspirerad av hans stil, och han är en av personerna på omslaget av skivan Sergeant Pepper's Lonely Hearts Club Band, från 1967. De är långt ifrån ensamma om att ha inspirerats. I veckans program har vi tittat närmare på psykedeliska konsertaffischer från 1960-talets San Francisco. Under den här tiden jobbade radioveteranen Lennart Wretlind i en liten skivbutik strax söder om San Francisco. Han sparade affischerna som han nu – 47 år senare – ställer ut på Rönnells antikvariat i Stockholm. Vi har också pratat med illustratören Liselott Watkins som ofta fått höra att hennes illustrationer påminner om just Aubrey Beardsleys. Om henne talar vi om vikten av pennor med. Och så har vi mött Sven Bertil Bärnarp som varje vecka tecknar serien ”Medelålders plus” i Dagens Nyheter. Veckans gäst är Björn Atldax, konstnär och illustratör och en av männen bakom Cheap Mondays döskallelogga.
Laurence Llewelyn-Bowen on the Victorian artist Aubrey Beardsley, whose shocking originality he compares to that of Alexander McQueen. Laurence's first foray into art was copying Beardsley drawings to sell at his school - with the more erotic ones fetching a premium price... Biographer Matthew Sturgis fills in the detail of Beardsley's short but extraordinary life, and Matthew Parris presents. Produce:r Beth O'Dea First broadcast on BBC Radio 4 in 2013.
Fri, Aug 6 2010 Mister Ron's Basement #1741 We have been reading fun poems from Ellis Parker Butler this week. Back in 1895, one of the most popular, and controversial artists of the day, was Aubrey Beardsley. Today's poem from 1895, is about Beardsley, but is called 'The Ballad of the Mermaid and the Sea Serpent.' Time: approx three minutes. The Mister Ron's Basement Catalog can be found at: http://ronevry.com/Mister_Rons_Full_Catalog.html The Ellis Parker Butler Index of stories can be found at: http://ronevry.com/EllisParkerButler.htmll *There is a nifty interview with Mister Ron in issue #59 iProng Magazine (now known as Beatweek Magazine) which can be downloaded as a free pdf file here. (NEW URL!) *John Kelly of The Washington Post has written a lively piece about the Basement. You can read it here. Help Keep Mister Ron's Basement alive! Donate One Dollar: http://ronevry.com/Mister_Ron_Donate.html A hint to new listeners - you can use the catalogs to find stories by specific authors, or just type their name in the keyword search field. To find some of the best stories in the Basement, simply click here! -- By the way, if you haven't noticed, you can get the episode by either clicking on the word 'POD' on top of this section, or on the filename on the bottom where it says 'Direct Download' or by clicking on the Victrola picture, or by subscribing in iTunes. When in iTunes, please click on 'Subscribe' button. It's Free! Thank you. Join us on Facebook!
: K1 inleder säsongen med ett aningen anfrätt ämne: Dekadensen, som oftast förknippas med det förra sekelskiftet. Salome dansar i slöjor, klena män med kvinnoskräck, Medusahuvuden, ruttnande adel och en skrämd borgarklass. Nu pågår utställningen Dekadens på Dunkers Kulturhus i Helsingborg. Cecilia Blomberg och Katarina Wikars frågar sig var dekadensen står att finna idag. Dekadensen förknippas oftast med det förra sekelskiftet. Salome dansar i slöjor med Johannes döparens avhuggna huvud på ett fat, klena estetmän med kvinnoskräck och syfilis, Medusahuvuden, anfrätt adel och en skrämd borgarklass. Dekadensen var en reaktion mot industrialismen och den frambrytande moderniteten och man hyllade det artificiella. Nu pågår utställningen Dekadens på Dunkers Kulturhus i Helsingborg. Utgångspunkten där är William Hogarths svit Rucklarens Väg. Cecilia Blomberg och Katarina Wikars frågar konstprofessorn Gertrud Sandqvist var dekadensen står att finna idag. Har den tappat i status? Räcker det med att röka inomhus eller måste det till utsvävningar likt Berlusconis? Musik och texter: Om kvinnans uttryck av Baudelaire, I´ve written a letter to daddy med Bette Davis, Kadavret och Berusa er av Charles Baudelaire, La Decadanse av Serge Gainsbourg och Jane Birkin, Ett öppet ord av Ola Hansson, ur Venus i Päls av Leopold von Sacher-Masoch, Femme fatale med Nico och Velvet Underground, Venus in furs med Velvet Underground, Put the blame on mame med Rita Hayworth, Each man kills the thing he loves med Ingrid Caven, ur Plattform av Michel Houllebecq. Dekadent läsning: Bertha Funcke av Stella Kleve, Venus i päls av Leopold von Sacher-Masoch, Det ondas blommor av Charles Baudelaire, Sensitiva amorosa av Ola Hansson, Mot strömmen av J K Huysmans, Huset Hilton av Jerry Oppenheimer, Sixty selected drawings av Aubrey Beardsley. Dekadent alfabet: Anna Anka, Berlusconi, Casino, Dandyism, Esseintes, Förbrännande sinnlighet, Gainsbourg, Hyperesteticism, Iskyla, Jeunesse dorée, Könsäckel, Letargi, Melankoli, Nico, Opium, Paris Hilton, Q, Rökning, Syfilis, Tristessa, Unkenhet, Venus Im Pelz, Wanda, X, Y, Z, Ångest, Äckelältande, Övervikt.
In association with Tragic Kingdom: The Art of Camille Rose Garcia, the San Jose Museum of Art is presenting a series of videos filmed on location at her home and studio in Southern California. The videos will include a personal tour of each series of artworks in the exhibition, as well as, video of Camille Rose Garcia painting, discussing the making of her book, and preparing for her exhibition. To keep up-to-date subscribe to our YouTube channel or search iTunes Store for SJMA. The San Jose Museum of Art presents the first major museum exhibition outside of Los Angeles of Camille Rose Garcia, an artist emerging from the Los Angeles underground scene, whose narrative-based works express an acute political consciousness. The artist's seemingly light-hearted paintings and drawings of charming cartoon-like characters actually depict dark tales of violence, corruption and greed, and seek to comment on the turmoil of contemporary society. Her first museum solo exhibition surveys her work with an emphasis on her most recent creations, showcasing paintings, drawings, sketchbooks, prints, sculpture, and site-specific installations, and is complemented by a book-length catalogue. Garcia's work stems from growing up in the suburbs of Orange County and making frequent visits to Disneyland, "the happiest place on earth." The artist quickly grew to recognize its artifice and contradictions, and she witnessed the realities of privileged suburban life - adolescent alienation and social marginalization. Her precious glittered compositions are infused with a sense of discontent, yielding works that are simultaneously disturbing and attractive. Garcia is a notable member of a Los Angeles underground contemporary art movement known as the "Pop Surrealists" or "Lowbrow" artists, who combine dark surrealism with an eclectic array of pop culture sources, including comics, animation, and 1950s television. Garcia is particularly influenced by Walt Disney, punk bands like the Dead Kennedys, and sci-fi writer Philip K. Dick. In addition, she draws upon diverse artistic and cultural sources, such as the work of her former teacher Paul McCarthy, illustrations by nineteenth-century artist Aubrey Beardsley, myths and fairy tales, and Japanese art, specifically traditional woodblock prints and the anime inspired work of Yoshitomo Nara and Takashi Murakami. From these references, she has crafted both a style that is unique and content that is a good deal more political than the work of her contemporaries. Garcia has produced over ten distinct series, each with unique themes that stem from world affairs, such as the 2004 Southeast Asian Tsunami, or from personal experiences, like the death of her twelve-year old dog. For example, Retreat Syndrome was produced immediately after 9-11 and addresses how people cope with the aftermath a traumatic occurrence. Garcia's epic tales are inhabited by a cast of characters, who reckon with violently destructive forces, exposing the horrors of the world around us. Camille Rose Garcia is represented by the Merry Karnowsky Gallery in Los Angeles, CA. (more)
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